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WITH   DESCRIPTIONS,    A^B   AN    ESSAY   ON  THE  PRINCIPLES 

OF  DESIGN 


BY    M.     FIELD. 


"  The  Architecture  of  a  people  is  the  external  and  enduring  form  of  their  public  life ; 
it  is  an  index  of  the  state  of  knowledge  and  social  progress." — Penny  Cyclopadia. 


NEW    YORK: 
G.  P.  PUTNAM  &  COMPANY,  10   PARK  I>LACE. 

1853. 


Entered,  according  to  Act  of  Concress,  in  the  year  1853, 
BY  G.  P.  PUTNAM  &  CO.. 
In  the  Clerk's  Office  of  the  District  Court  of  the  United  States  for  the  Southern 
Pistrict  of  New  Yorls. 


R.Craigubad,  Printer, 
oSVeaev  Street. 


I^xtfntt. 


To  assist  the  development  of  the  taste  for  ornamental  building,  no'w 
prevalent  in  this  large  and  increasing  metropolis,  as  well  as  in  the  other 
important  cities  of  the  Union,  by  offering  to  the  Architect,  Builder,  and 
Capitalist,  a  variety  of  novel  designs  and  adaptations  of  the  street-archi- 
tecture of  Rome,  Florence,  and  Venice — is  the  object  of  the  present  -work. 

The  Italian,  now  the  fashionable  style  for  city  edifices,  was  the  peculiar 
taste  of  the  author,  derived  from  a  professional  tour  on  the  continent  of 
Europe,  long  before  it  had  superseded  the  pure  Greek  style ;  which,  how- 
ever beautiful  in  itselij  has  been  proved  by  experience  to  be  unproductive 
of  any  original  combinations,  and  ill  adapted  to  modem  uses  and  require- 
ments. 

Small,  but  correct,  outline  Mevati&ns  have  been  adopted,  as  best  display- 
ing the  forms  and  proportions  of  the  Design  :  and  Plans  only  of  the  out- 
line of  the  Fagade  have  been  thought  necessary,  as  the  arrangement  of  a 
Plan  depends  entirely  on  the  given  locality.  In  the  description  of  the 
plates,  sufficient  will  be  found  to  give  a  complete  notion  of  each  subject : 
and,  in  the  introductory  essay,  the  author  has  endeavored  to  investigate 
and  establish  some  general  ideas  on  the  principles  of  Architectural  design, 
in  a  maimer  he  has  never  before  seen  done ;  together  with  some  critical 
remarks  on  the  present  state  of  the  Art  in  this  city. 

This  work  is  not  intended  to  supersede  the  assistance  of  the  Architect, 
in  supplying  the  details  necessary  to  the  execution  of  the  Designs ;  but 
rather  to  furnish  examples,  hints,  and  ideas,  available  for  various  purposes ; 
and  to  show,  how  pleasing  and  tasteful  effects  may  be  produced  with  the 
minimum  of  ornament  and  expense,  by  a  judicious  selection  and  combina- 
tion of  forms  and  proportions. 

New  York,  1853. 


ICiat  nf  tjit  flntts. 


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FOR   STORES, 


DWELLING-HOUSES,      . 

BANK,  OR   PrBLIC    OFFICE? 

HOrSE,  AND    STORE,    . 

RETAIL   STORE,  OR   SALOON, 

BANK,    OR   Pt'BLIC    BUILDING,       . 

AN   HOTEL,  .... 

PUBLIC    LIBRARY,  OR   INSTITUTION, 

AN    HOTEL,  .... 

A   DETACHSD    MANSION, 

A    DISTRICT   SCHOOL,  OR   ACADEilT, 

A    DETACHED    MANSION, 

A    THEATRE,         .... 

CLUB-HOUSE,  OR   PRIVATE   MANSION, 

A    MARKET,         .... 

FERRT-HOUSES, 

AN    ENGINX   HOI'SE,    . 

RAILROAD    TERMINUS, 

A    CHURCH,  .... 


42 
43 
45 
4Y 
49 
50 
51 
52 
54 
56 
57 
5S 
60 
61 
63 
64 
66 
68 
VO 
12 


^ssag 


Architecture,  compared  witli  the  rest  of  the  Fine  Arts, 
will  be  found  to  occupy  a  peculiar  place.  Unlike  Painting, 
Sculpture,  and  Poetry,  it  has  no  standard  in  nature  :  the 
imitation  of  nature  is  not  its  object.  The  resemblance  of 
columns  and  arches  to  trees  and  branches  is  merely  casual 
and  fanciful ;  and  not  their  origin,  nor  the  cause  of  their 
beauty.  In  architectural  ornaments,  indeed,  there  is  an 
imitation  of  foliage  and  tendrils,  but  not  a  close  imitation, 
and  only  in  subordinate  parts  ;  and  such  ornaments  may 
rather  be  denominated  Sculpture  called  in  to  the  aid  of 
Architecture,  as  in  the  case  of  statues  and  bas-reliefs  on 
the  exterior  of  buildings. 

The  Fine  Art,  which,  in  its  ultimate  principles,  bears 
the  closest  parallel  with  Architecture,  is  Music  ;  which, 
also,  is  not  founded  upon  the  imitation  of  natural  objects, 
but  (as  Adam  Smith  remarks  in  a  posthumous  Essay  on  the 
Fine  Arts)  contains  its  subject,  or  theme,  within  itself; 
namely,  the  air,  or  motivo,  which  is  the  ground-work  of 
the  composition.  There  is  often,  indeed,  an  apparent  imi- 
tation of  natural  sounds  and  motions  in  the  accompani- 
ments to  vocal  and  operatic  Music  ;  but  this  is  only  inci- 
dental and  trivial,  and  not  the  cause  of  the  beauty  of 
Music.     Music,  without  words,  cannot  express  any  definite 


8  AN    ESSAY    ON    THE    PRINCIPLES    OF 

meaning  ;  it  can  only  excite  a  feeling  and  frame  of  mind, 
corresponding  to  the  ideas  it  is  associated  with.  As  Mu- 
sic, then,  affects  the  mind  through  the  ear  by  measured 
spaces  of  time,  and  intervals  of  tone,  single  or  combined 
in  harmony,  so  Architecture  affects  the  eye,  by  measured 
spaces  of  lines  and  forms,  in  harmonious  contrasts  and 
proportions.  The  mode  of  producing  these  effects  varies, 
of  course,  with  the  different  nature  of  the  sense  excited. 
In  Music,  the  perception  of  measures  and  harmonies  pro- 
ceeds continuously,  as  they  flow  upon  the  ear  :  in  Architec- 
ture, regularity  and  proportion  are  perceived  at  once  by  a 
single  coup  d'csil,  though  the  eye  is  subsequently  entertained 
by  going  over  the  surface  before  it  successively,  and  from 
different  points  of  view,  and  renewing  its  pleasure  by  fresh 
observation.  Without  drawing  this  parallel  further  into 
needless  detail,  it  will  be  clearly  seen,  that  regularity  and 
proportion  are  the  essential  elements  of  both  these  fine 
arts,  and  in  so  far  the  rationale  of  their  effect  upon  the 
mind  is  the  same,  though  addressing  different  senses  ; 
while  in  Poetry,  regularity  obtains  only  in  the  outward 
rhythmical  structure  ;  and  in  Painting  and  Sculpture, 
though  they  have  proportions  and  harmonics  of  their 
own,  yet  architectural  regularity  would  appear /or??ia/  and 
unnatural. 

The  object  of  Architecture,  then,  is  to  please  the  eye  by 
regularity,  variety,  and  harmony  of  forms  and  proportions. 
As  Music  is  founded  upon  mathematics,  in  the  intervals  of 
the  scale,  and  in  the  harmonies  of  chords,  so  Architecture 
is  founded  upon,  is  the  relative  Fine  Art  of,  Geometry. 
Geometry  defines  right  angles,  straight  lines,  and  curves  : 
Architecture  adopts  them  as  "  things  of  beauty;"  and  by 


DESIGN    IX    ARCHITECTURE. 


their  varied  arrangement  creates  a  new  sense  of  pleasure, 
and  lias  the  power  of  affecting  the  mind  with  ideas  and 
images  of  airy  grace,  or  severe  sublimity. 

But  Architecture  has  another  peculiarity  to  distinguish 
it  from  the  other  Fine  Arts  ;  it  is  a  useful  Art  as  well. 
It  owes  its  origin  and  intention,  the  nature  and  primary 
form .  of  its  leading  features  to  Utility  ;  it  can  never 
desert  an  apparent  or  possible  utility,  at  least ;  its  very 
beauty  consists  in  the  union  of  utility  and  beauty.  In  this 
respect  Architecture  may  be  compared  to  costume.  Dress 
and  shelter  are  natural  necessities.  Fit  and  agreeable 
forms  and  ornaments  applied  to  these  necessities  raise 
them  into  the  rank  of  refined  Arts.  The  arrangement  of 
drapery  is  a  part,  and  no  small  one,  of  Painting  and 
Sculpture.  As  Architecture,  therefore,  is  founded  upon 
utility,  Utility  should  prescribe  what  is  wanted,  and 
Beauty  should  supply  that  want  in  the  most  appropriate 

manner. 

Without  entering  upon  the  question  of  the  origin  of  our 
notion  of  the  Beautiful,  it  will  be  generally  agreed,  that 
there  is  an  eye  for  visible  beauty,  as  there  is  an  car  for 
music,  without  the  natural  possession  and  cultivation  of 
which,  in  some  degree,  it  is  impossible  to  entertain  or 
communicate  any  intelligible  ideas  upon  the  subject. 
Genius  and  taste  may  be  improved,  but  can  hardly  be 
infused  into  minds  naturally  deficient  in  organic  sensi- 
bility towards  their  objects.  We  believe,  that  forms  and 
colors  give  a  positive  pleasure  sui  generis  to  the  eye. 
Color  first  pleases  children.  Form  the  more  experienced 
and  cultivated  mind.  It  is  through  the  perception  of 
color,  light  and  shade  at  least,  that  we  originally  learn 


10  AN    ESSAY    ON    THE    PRINCIPLES    OF 

to  distinguish  forms  ;  and  the  brightest  colors  will  natu- 
rally be  most  attractive  to  the  infant  eye.  But  the  first 
efforts  of  the  childish  pencil  will  generally  be  found 
to  be  houses  and  ships,  and  geometrical  elevations, 
and  profiles  of  these,  and  straight  lines  rather  than  the 
flowing  curves  of  natural  objects  ;  and  if  trees  are 
attempted  by  a  child  they  will  be  made  perfectly  upright 
and  symmetrical,  which  indeed  is  the  vulgar  ideal  of  the 
beauty  of  a  tree  among  adults,  ignorant  of  the  principles 
of  the  picturesque.  All  this  tends  to  prove  that  regular 
and  symmetrical  forms,  even  those  of  the  common  geome- 
trical superficies,  have  a  natural  charm  for  the  eye,  in- 
creased, of  course,  by  the  intellectual  perception  of  their 
truth  and  exactness.  As  experience  advances,  certain 
forms  and  arrangements  will  be  found  to  please  more  than 
others.  What  then  are  the  causes  of  this  pleasure,  or  in 
other  words,  what  are  the  elements  of  architectural 
beauty  ? 

On  an  attentive  analysis,  we  would  enumerate  them  as 
follows  : 

1.  Symmetry,  or  an  equal  arrangement  of  parts  on  each 
side  of  a  centre  line.  This  principle  prevails,  and  is 
equally  the  source  of  beauty,  in  the  organization  of  all 
the  higher  classes  of  animated  beings  ;  and,  united  with 
variety  and  beauty  of  outline,  pre-eminently  in  the  human 
form,  which  was  the  favorite  type  of  a  column,  among 
the  old  writers  on  architecture. 

Symmetry,  in  architecture,  necessarily  includes 

2.  Perpendicularity  of  supports,  and 

3.  HoRizoNTALiTY  of  entablatures,  or  the  parts  support- 
ed.    The  inclined  lines  of  a  pyramid,  a  Yitruvian  door, 


DESIGN    IN    ARCHITECTURE.  11 

or  a  Gothic  buttress,  are  only  occasional  exceptions  to 
this  rule. 

4.  Proportion  of  the  parts  to  the  whole,  and  of  the 
subordinate  parts  to  the  principal  ones,  in  their  several 
widths  and  heights. 

5.  Variety,  contrasting  with  and  heightening  the 
effect  of  uniformity.  Under  variety  we  may  class  curved 
lines,  whether  on  the  plan  or  elevation,  and  perhaps  orna- 
ment in  general,  the  chief  use  of  which  is  to  vary  a  plain 
surface. 

6.  Utility,  and  apparent  durability,  to  satisfy  the  rea- 
son as  well  as  the  imagination.  Straight  lines,  and  right 
angles,  equally  belong  to  utility  and  beauty.  A  building, 
composed  of  curved  lines  only,  would  appear  unfit  for 
stone-work  ;  in  wood- work  we  admire  the  curved  lines  of 
chairs,  and  other  furniture. 

7.  Association,  either  with  the  particular  forms  we  have 
most  seen  and  habitually  admired,  or  with  reminiscences 
of  the  classical  or  romantic  ages,  or  of  the  revivals  of 
learning  and  civilization.  For  this  reason,  Egyptian, 
Persian,  Hindoo  and  Chinese  architecture  have  no  beauty 
of  association  with  us,  though  the  two  former  have  great 
intrinsic  beauty,  and  were  the  precursors  of  the  Grecian 
orders. 

As  the  three  first  of  these  principles  are  fixed  element- 
ary essentials,  and  the  two  last  easily  observed  by  ordi- 
nary attention,  it  is  in  the  proportion  of  the  parts,  and  the 
variety  of  their  arrangement,  that  the  practical  principles 
of  design  will  be  found  to  consist.  In  proportion,  we 
believe,  will  be  discovered  the  magic  charm  of  the  most 
exquisite  and  celebrated  models  of  the  art.     To  test  this  : 


13  AN    ESSAY    OIT   THE    PRINCIPLES    OF 

make  tlicm  wider  or  higher,  iu  the  whole  or  in  tlie  parts, 
or  displace  a  single  important  feature,  and  they  will  be 
spoiled.  But  change  the  style  and  ornaments,  or  strip 
all  ornaments  away,  and  the  beauty  of  the  design,  the 
beauty  of  proportion  will  still  be  left.  On  the  other  hand, 
we  may  often  notice  buildings,  otherwise  unobjectionable 
in  form,  which  injudicious  parsimony  of  expense,  the 
self-will  of  the  employer,  or  the  incompetence  of  the 
architect,  have  "  curtailed  of  their  fair  proportions,"  and 
consequently  of  their  beauty. 

We  have  not  included  Composition,  or  Harmony,  as 
analytical  elements  of  architectural  beauty.  Composition 
in  Architecture,  except  as  including  originality  in  the 
arrangement  of  lines  and  forms,  is  nearly  the  same  as  the 
proportioning  of  the  parts  to  the  whole  ;  and  Harmony  is 
the  result  and  general  effect  of  Composition  and  Propor- 
tion combined. 

Thus  it  would  appear,  if  the  above  analysis  be  correct, 
that  Proportion  is  the  chief  element  of  Beauty,  and,  iu 
common  language,  nearly  synonymous  with  it,  in  Archi- 
tecture as  well  as  in  Sculpture  :  in  both  of  which  arts 
Quantity  and  Outline  of  Form  are  the  means  of  producing 
effect.  But  what  is  Proportion  ?  is  it  anything  absolute 
and  definite,  or  mere  arbitrary  fancy,  or  association  ? 

It  is  the  general  idea  of  unprofessional  persons,  that  the 
proportions  of  architectural  compositions,  the  orders,  <fcc., 
are  settled  and  perfect  ;  rules  which  the  professor  has  only 
to  follow  implicitly,  to  produce  a  certain  good  effect. 
This  idea  is  totally  incorrect.  Some  general  proportions 
of  the  orders  were,  indeed,  observed  by  the  ancients,  in 
making  the  Doric  low,  the  Coriuthian  lofty,  and  the  Ionic 


DESIGN    IN    AnCHITECTURE. 


13 


order  a  medium  between  the  two  ;  they  had  also  general 
rules,  or  practices,  in  arranging  the  distances  between  the 
columns.  But  when  we  come  to  particular  and  absolute 
proportions  of  the  several  parts,  no  two  instances  of  any 
one  order,  we  believe,  can  be  found  exactly  alike  ;  and 
great  variation  of  ornaments  and  mouldings  was  indulged 
in  according  to  the  taste  and  invention  of  the  architect, 
and  to  the  size,  plan,  and  site  of  his  building,  whether 
temple,  forum,  amphitheatre,  or  domestic  residence.  Ab- 
solute proportions,  therefore,  were  not  the  cause  of  the 
beauty  of  the  ancient  classical  remains.  But  neither  is 
proportion  a  mere  matter  of  whim  and  caprice  ;  but,  like 
good  taste,  according  to  the  definition  of  Burke,  the  result 
of  feeling  and  judgment  in  the  mind  of  the  artist.  Even 
the  etymology  of  the  word  implies  the  idea  of  fitness  and 
relation  to  something  out  of  itself  :  what  is  good  propor- 
tion for  one  thing,  is  bad  for  another  :  a  colonnade  requires 
length,  a  spire  the  greater  height :  the  proportions  of  a 
child,  a  man,  a  woman,  of  a  Venus,  a  Hercules,  a  Juno — 
all  differ,  yet  are  all  beautiful  in  their  place. 

The  nature  and  beauty  of  proportion  may  be  here 
illustrated  by  a  few  simple  diagrams  in  a  familiar  man- 
ner. In  the  first 
plajce  we  may  re- 
mark that  an  exact 
square  (1)  is  not  so 
agreeable  a  shape 
for  a  picture, tablet, 
pedestaL,<fec.,asthe 
upright  or  oblong 
parallelograms  (2) 
and     (3),    becaus*^ 


11 


111 

14 


AN    ESSAY    ON    THE    TRINCIl'LES    OF 


wanting  the  variety  and  contrast  of  proportion  of  tlie 
latter.  If  vre  now  proceed  to  add  a  base  and  capital 
to  the  above  figures,  we  shall  perceive  that  the  addition  of 
another  square  or  cube,  or  another  oblong  parallelogram 
over  and  under  tiie  figures  2  and  3  respectively,  will 
produce  no  beauty  whatever  ;  but  that  our  capitals  and 
bases  must  be  adopted  of  a  difierent  height  from  that  of 
our  pedestal,  and  as  they  are  subsidiary  features,  they 
must  be  less  in  height.  But  if  we  try  equal  heights 
for  both,  the  effect  will  not  be  pleasing,  consequently  one 
must  be  less  in  height  than  the  other,  and  to  obtain 
solidity  of   structure  the  base  ought  to  be  the  highest, 

as  in  figures  a  and  b. 
Here  we  have  a  pleas- 
ing and  well  propor- 
tioned outline  (a)  for 
a  pedestal  to  a  statue, 
lamp,  &c.,  or,  a  little 
heightened,  for  a  gate- 
post, chimney,  (fee,  and 
in  (b)  for  a  reclining 
or  equestrian  statue, 
or  for  a  tribune,  or 
tomb.  If  the  cornice  should  be  subdivided  into  mouldings 
and  the  base  into  plinths,  similar  divisions  into  unequal 
heights  and  projections  are  usually  made,  and  are  found 
the  most  pleasing.  This  same  principle  applies  equally  to 
proportions  of  width  in  the  elevation  of  a  building  with  a 
centre  and  wings,  where  main  divisions  into  equal  parts 
must  be  avoided.  But  windows,  columns,  and  smaller  sub- 
divisions of  width,  as  in  the  modillions  and  dentils  of 


1 

r 

I 

1 

A 


B 


DESIGN    IX    ARCHITECTURE.  15 

cornices,  &c.,  must  be  placed  at   equal  distances,  or   no 
conformity  of  design  will  be  obtained.     Our  first  principle 
requires  equal  distances  on.  each  side  of  a  centre  line.     And 
here  a  curious  question  occurs  to  us,  which  we  have  never 
seen  noticed  before  :  Why  are  not  equal  heights,  as  well 
as  equal  widths,  required  to  please  the  eye  ?     Why  are 
not  5  equal  and  similar  stories  in  height  required  to  please, 
as  well  as  5  equal  windows,  at  equal  widths  apart  ?     That 
equality   of  heights   is   not   pleasing,  we   have  just  seen 
exhibited  in  our  diagrams :  on  the  contrary,  variety   in 
heights  would  appear  just  as  agreeable  as  uniformity  in 
widths  ;  it  is  perhaps  the  contrast  between  the  two  that 
produces  the  most  complete  satisfaction.     The  reason  of 
this  may  depend  upon  our  single  vision  with  two  eyes, 
which  are  in  a  horizontal,  not  a  perpendicular  line,  so  that 
we  see  to  a  greater  extent  m  width  than  in  heisfht,  and 
can  more  readily  appreciate  equal  widths  than  we  can  equal 
heights.     Utility,  also,  may  have  something  to  do  with  the 
question,  since  equal  widths,  on  a  plan,  are  the  most  con- 
venient, while  equal  heights  are  indifferent.     Or  it  may  be 
some  secret  sense  of  analogy  between  the  object  contem- 
plated and  our  own  frame,  since,  as  we  before  pointed  out, 
man  and  all  the  higher  animals  are  symmetrically  formed 
on  each  side  of  a  centre  line  in  width,  but  not  in  height ; 
the  parts  from  below,  upwards,  are  exceedingly  varied  in 
form  and  proportion.     If  these  ideas  are  well  founded,  it 
may  be  deduced  as  a  corollary,  that  the  more  equal  our 
divisions  are  on   the  plan,  and  the  more  varied  on  the 
elevation,  the  greater  will  be  the  variety  of  proportion 
and  the  beauty  produced.     Equal  widths  and  heights  pro- 
duce only  squares,  which  have  no  variety  ;  like  unisons  in 


IC  AN    ESSAY    O.V    THE    PRINCIPLES    OF 

mu?ic,  wliicii,  liowever  multiplied,  produce  no  harmony. 
Harmony  arises  from  the  junction  and  simultaneous  percep- 
tion of  intervals  variously  proportioned  to  each  other. 

If  wc  now  examine  the  proportions  of  the  orders,  we 
shall  see  that  the  capital,  though  sometimes  higher 
than  the  base,  is  seldom,  if  ever,  of  exactly  the  same 
height.  Divide  an  order,  with  pedestals  to  it,  into  pedes- 
tal, column,  and  entablature,  and  we  shall  have  very 
nearly  the  same  divisions  as  in  our  example  (a).  Proceed- 
ing to  the  front  of  a  house  of  three  stories,  the  first  or 
ground  story  will  look  best  when  lower  than  the  second  ; 
the  second  should  have  the  greatest  height,  while  the  third 
or  upper  story  should  be  lower  than  the  first.  The  heights 
of  the  windows,  of  course,  will  be  similarly  proportioned 
to  the  several  stories.  In  a  house  of  four  stories,  we  have 
the  choice  of  keeping  the  second  story  the  highest  as 
before,  and  introducing  an  extra  story,  the  same,  or  a  little 
less,  in  height  than  the  ground  story,  keeping  the  upper, 
or  attic,  the  smallest,  as  before.  Or  we  may  make  the 
first  story  the  highest,  and  the  two  next  progressively 
smaller,  and  by  the  help  of  cornices  or  string  courses 
separate  the  upper  and  lower  stories  from  the  two  middle 
ones,  so  as  to  give  the  latter  the  effect  of  one  compart- 
ment, which  will  again  produce  the  three-fold  division  of 
our  diagram.  This  shows  us  the  beauty  and  utility  of. 
string  courses,  and  cornices,  in  creating  harmonious  pro- 
portions in  the  elevations  of  city  buildings,  which,  from 
economy  of  ground  plot,  are  necessarily  too  narrow  for  a 
good  proportion,  and  would  appear  likely  to  fall  unless 
propped  up  by  their  neighbours.  If  a  fifth  story  is  re- 
quired, we  must  add  an  additional  string  course,  dado,  or 


DESIGN    IN    ARCHITECTURE.  l7 

cornice  between  the  second  and  third,  or  the  third  and 
fourth  stories,  in  order  to  preserve  an  agreeable  propor- 
tion. In  a  house  of  six  stories,  semicircular  window 
heads  and  ornamented  dressings  must  be  had  recourse  to 
on  one  or  other  of  the  lower  stories,  to  counteract  the 
monotony  of  the  repetition  of  so  many  square-headed 
apertures.  Beyond  six  stories  above  the  ground,  a  build- 
ing of  the  ordinary  width  of  a  single  house  may  be  raised 
for  purposes  of  utility,  but  not  as  a  piece  of  architecture. 
The  too  great  number  of  stories,  crowded  windows,  and 
want  of  string  courses,  are^the  prevailing  faults  of  the 
City  Architecture  of  New  York. 

The  wall  of  a  house  is  composed  of  piers  and  windows, 
or,  as  they  are  technically  called,  solids  and  voids  ;  and 
to  produce  real  as  well  as  apparent  solidity,  the  solid 
parts  should  preponderate  ;  the  piers  should  be  wider  near 
the  windows.  In  important  edifices,  with  ample  space  on 
the  ground  plan,  this  old  and  excellent  rule  is  generally 
observed  ;  but  in  dwelling-houses  and  stores  it  is  as  gene- 
rally violated.  In  Italy  this  indispensable  proportion  is 
observed  in  the  meanest  building.  New  York  is  in  the 
same  latitude  as  Naples  :  why  should  more  light  be  re- 
quired in  one  place  than  the  other  ?  Why  should  our 
apertures  be  as  wide  as  those  used  in  the  murky  atmo- 
sphere of  London  ?  That  it  is  merely  a  habit,  and  not  a 
need,  we  are  convinced,  from  the  general  practice  of  stop- 
ping out  at  least  half  of  the  light  by  blinds  and  curtains. 
In  the  smaller  class  of  plain  brick  dwellings  recently 
erected  in  this  city,  we  have  been  pleased  to  see  narrower 
windows  used  ;  but  in  first  and  second  class  stone-fronted 
dwellings  the  width  and  height  of  the  apertures  are  far  too 

o 


18 


AN    ESSAT    OK    THE    PRINCIPLES    OF 


great  for  the  solid  part  of  the  wall.  Architraves,  too, 
are  generally  made  wider  than  necessary  ;  and  architraves 
seem  to  belong  to  the  window,  and  subtract  from  the 
width  of  the  pier. 

To  enforce  the  truth  of  the  above  remarks  by  a  visible 
example,  we  add  the  annexed  diagrams,  representing  good 
and  bad  proportions,  which  we  think  will  be  sufficiently 
self-evident  without  our  distinguishing  them. 


In  very  deep  stores,  where  large  apertures  for  light  are 
absolutely  indispensable,  we  would  recommend  the  general 
adoption  of  arched  heads,  lately  introduced.  A  series 
of  arches  looks  best  when  the  piers  are  narrower  than  the 
apertures  ;  arches  give  greater  real  and  apparent  strength 
of  construction,  and  greater  solid  space  above  them,  than 
square  apertures  of  the  same  height.  The  invention  of 
the  arch  we  regard  as  the  crowning  glory  of  architectural 
beauty  and  construction — the  discovery  of  a  new  world 
of  domes  and  vaulted  ceilings.  The  beauty  of  arches  we 
believe  to  arise  from  their  partaking  of  as  much  of  the 
line  of  beauty,  the  serpentine  line,  as  will  continuously 


DESIGN    IN    ARCHITECTURE.  19 

flow  out  of,  and  reunite  with,  perpendicular  lines.  The 
beauty  of  the  arch  owes  something  also  to  the  principle 
of  utility  and  ingenuity,  la  difficulte  vaincue.  '  The  natural 
arch  of  a  rock  conveys  a  sense  of  danger,  as  well  as  of 
sublimity  :  but  in  art  it  affords  unalloyed  pleasure  ;  its 
keystone  having  become  the  proverbial  emblem  of  stability. 
As  the  circle  is  the  most  perfect  geometrical  form,  the 
semicircular  is  the  most  perfect  and  beautiful  of  arches ; 
the  elliptical,  the  oblique  section  of  the  circular  cylinder, 
the  next.  The  pointed  arch  is  pleasing,  but  void  of  con- 
tinuity and  strength.  Segmental  arches  are  good  only 
in  basement  stories,  bridges,  &c.  If  to  the  Greeks  we  owe 
the  orders,  or  a  triple  system  of  well-proportioned  perpen- 
dicular supports  and  horizontal  entablatures,  to  the  Romans 
we  owe  the  use,  if  not  the  invention  of  the  pier  and  arch ; 
as  well  as  the  junction  of  the  two  in  the  arcade,  with  half 
columns  between  the  piers.  The  judicious  intermixture  of 
straight  and  circular-headed  windows,  with  horizontal 
cornices,  and  occasional  supporting  columns  and  pilasters 
in  the  piers,  will  be  found  the  means  of  producing  the 
richest  and  most  effective  embellishment  of  street  and  city 
architecture. 

To  return  to  the  point  we  digressed  from.  Some  writers 
(Mr.  Gwilt,  the  author  of  the  Encyclopaedia  of  Architec- 
ture, among  the  number)  have  advocated  strict  arithmetical 
or  harmonic  proportion  in  the  widths,  breadths,  and  heights 
of  the  main  divisions  of  the  plan,  or  elevation,  of  rooms, 
doors,  windows,  &c.  That  is,  that  a  room,  door,  or  window, 
should  be  exactly  as  1  to  I2,  1  to  2,  3  to  4,  <fec.  This  is 
often  a  very  convenient  arrangement  to  form  subdivisions 
of  windows  and  piers,  ceilings,  pannels,  &c.,  and  an  approxi- 


20  AN    ESSAV    OX    THE    PRINCIPLES    OF 

mation  to  such  proportion  is  often  worth  adopting.  But 
the  proof  that  strict  harmonic  proportion  is  not  the  source 
of  beauty  is  this :  that  the  eye  is  incapable  of  perceiving  it ; 
it  could  only  be  proved  by  the  compasses  or  measuring  rod. 
In  music  the  divisions  and  proportions  of  time  and  tone 
must  be  all  but  mathematically  perfect  and  true,  in  order 
to  satisfy  a  correct  ear  ;  but  the  eye,  from  its  limited  point 
of  view,  could  not  detect  a  default  or  excess  of  several 
inches  or  feet  from  strict  harmonic  proportion.  A  safer 
rule  to  follow  is  the  old  universal  golden  maxim,  "  Avoid 
extremes.^'  A  building  which  is  obviously  too  tall  or  too 
low  as  a  whole,  or  in  any  essential  parts,  can  seldom  redeem 
such  an  objection  by  extraneous  beauty.  The  medium  of 
form  is  a  cause  of  beauty  in  painting  and  sculpture,  accord- 
ing to  Reynolds. 

Architecture  has  many  other  general  principles  in  com- 
mon with  her  sister  arts,  especially  that  of  painting  ;  such 
as  contrast,  light  and  shade,  richness  and  repose,  a  balance 
of  parts,  triangular  and  pyramidal  grouping,  bringing  for- 
ward some  parts  of  the  composition  and  keeping  others 
back,  &c.,  and  more  than  all  others,  as  being  a  useful  art, 
is  it  subject  to  the  jurisdiction  of  common  sense,  which,  ac- 
cording to  Dr.  Johnson,  is  not  to  be  set  at  naught  even  in 
the  works  of  imagination.  This  last  principle  was  ably 
advocated  by  our  friend,  the  late  Mr.  Loudon,  throughout 
all  his  excellent  architectural  works.  Columns,  with 
nothing  of  sufficient  importance  to  support,  sham  pediments 
in  the  centre  of  long  ranges  of  building  roofed  the  contrary 
way,  steeples  riding  astride  upon  the  apex  of  roofs, — are 
all  instances  of  the  violation  of  this  important  principle. 

Having    proved    that    certain    proportions    are   more 


DESIGN   IN    ARCHITECTXJRE.  21 

pleasing  than  others,  we  come  next  to  the  question, 
whether  any  particular  forms  are  per  se  essentially  more 
agreeable?  This  we  cannot  answer  in  the  affirmative, 
except  in  the  arts  of  painting  and  sculpture,  where  nature 
is  the  standard.  In  nature  there  are  superior  races  of 
animals,  and  superior  individual  types  of  each  race,  and 
it  is  universally  agreed,  that  the  horse  is  the  most  elegant 
in  shape  of  hoofed  quadrupeds,  the  greyhound  of  dogs, 
the  swan  of  birds,  the  rose  and  honeysuckle  of  flowers. 
The  circumstance  of  all  these  examples,  and  the  human 
form  the  most,  partaking  most  eminently  of  the  line  of 
beauty,  is  to  us  a  proof  that  that  line  is  the  most  agreeable 
to  the  eye  ;  whether,  as  possessing  more  variety  and 
appearance  of  motion,  or  because  exciting  its  physical 
sensibility  in  a  more  agreeable  manner.  For  we  must  not 
forget  that  seeing  and  hearing  are  physical  senses,  and 
that  their  relative  Fine  Arts  are  sensual  pleasures,  though 
of  the  purest  kind,  and  however  refined  by  the  intellect 
and  the  imagination.  But  the  original  adoption  of  par 
ticular  straight  or  curved  lines  in  architecture,  when  not 
suggested  by  the  nature  of  the  materials,  was  probably 
arbitrary  and  accidental ;  and  we  think  it  would  be 
impossible  to  prove  the  intrinsic  superiority  of  the  forms 
of  any  one  style  of  architecture  over  another.  In  this 
point,  we  believe  the  principal  cause  of  our  preference  is 
association  and  habit.  It  would  be  as  difficult  to  maintain 
the  superiority  of  one  style  of  music  over  another,  the 
German  or  the  Italian,  for  example  :  the  controversy  on 
which  subject  was  justly  decided  by  Rousseau,  in  saying 
that  each  was  the  best  to  its  own  nation.  The  style  of 
the  most  cultivated  nations,  and  those  which  have  the 


22  AN    ESSAY    ON   THE    PRINCIPLES    OF 

most  national  taste  for  any  particular  art,  may,  however, 
d  priori,  be  presumed  to  be  the  best  ;  which  inference,  as  it 
gives  the  palm  to  Italy  and  Germany  in  music,  would 
yield  the  superiority  in  architecture  to  ancient  Greece 
and  modern  Italy. 

The  principles  of  proportion  and  symmetrical  compo- 
sition are  common  to  every  style  ;  but  each  particular 
style  has  its  own  modes  of  eifccting  its  purposes  and 
principles  of  development,  which  have  become  rules  for 
that  style.  We  must  in  the  main  follow  the  leading 
characteristics  of  any  style  we  adopt,  and  its  particular 
mode  of  ornament  in  its  details.  Styles  of  unkindred 
origin  must  not  be  confounded  togetlier.  "  It  is  essential  to 
an  architectural  structure,"  says  a  writer  in  the  Penny  Cy- 
clopaedia, "  that  the  general  arrangement,  and  the  ornaments 
should  have  a  unity  of  character,  and  be  referable  to  some 
one  model."  It  would  be  as  great  a  solecism  in  literature 
to  compose  a  sentence,  half  in  one  language  and  half  in 
another,  as  it  is  to  mix  up  in  one  composition  two  differ- 
ent styles  of  architecture.  If  we  compare  the  Grecian 
and  the  Gothic  styles,  we  shall  immediately  perceive  the 
striking  contrasts  of  their  aims  and  effect,  The  Grecian 
consists  of  a  few  simple  parts,  and  broad  divisions  ;  tlie 
Gothic  is  complicated  in  plan,  and  infinitely  subdivided 
into  minute  parts.  In  the  one,  horizontal  lines,  window- 
heads,  and  entablatures  prevail ;  in  the  other,  perpendicular 
lines,  pointed  arches,  and  pinnacles.  The  Grecian  admits 
of  none  but  right  angles,  save  one  very  obtuse  angle  in 
tlie  pediment ;  the  Gothic  avoids  right  angles,  as  much 
as  possible,  even  on  its  plan,  and  destroys  tlie  appearance 
of  ihcm  on  the  elevation,  by  the  preponderance  of  acute 


DESIGN    IN    ARCHITECTURE.  23 

angled  pediments  and  pannel-heads  :  Grecian  ornament 
is  upright  and  formal,  or  in  regular  scrolls  ;  Gothic  totally 
irregular,  and  creeping,  like  a  vine  :  the  pure  Grecian 
admits  of  only  flat  square-pannelled  ceilings  ;  the  Gothic 
spreads  out  its  vaulted-arches,  and  fan-like  tracery, 
"  scooped  into  ten  thousand  cells,"  of  every  imaginable 
shape,  derived  from  the  intricate  geometry  of  its  plan. 
Nothing,  then,  but  an  attentive  study  of  these  different 
styles,  can  prevent  the  artist  from  running  into  a  jumble 
of  their  principles  and  modes,  (such  as  the  mixture  of 
Gothic  label-mouldings  and  Grecian  consoles,)  which  can 
never  have  a  good  effect,  independently  of  their  inconsist- 
ency ;  while,  to  the  connoisseur,  it  will  always  appear 
the  result  of  ignorance  and  incompetence. 

In  the  progress  of  the  primitive  races,  architecture 
necessarily  assumed  a  national  character,  originating  from 
the  peculiar  climate,  the  materials  furnished,  and  the 
relative  degree  of  refinement  and  imagination  of  each 
nation.  But  in  modern  times,  after  the  lapse  of  ages  of 
civilization,  and  intermediate  barbarism,  and  the  conse- 
quent corruptions,  revivals,  and  imitations  of  styles,  the 
production  of  an  original  and  national  a,rchitecture  is  no 
longer  possible.  Even  if  forms  of  elegance  superior  to 
Greece  and  Rome,  and  the  purest  styles  of  the  middle  ages, 
could  be  invented,  they  would  not  be  thought  so,  wanting 
the  old  classical  or  romantic  associations.  But  indeed  no 
really  original  system  of  forms,  columns  and  entablatures, 
piers  and  arches,  could  now  be  invented  ;  it  would  inevi- 
tably have  more  of  borrowed  than  of  original  in  it.  The 
variety  of  lines  and  forms  is  very  soon  exhausted.  Straight 
and  semicircular,  or  elliptical,  are  all  that  sound  construe- 


24  AN    ESSAY    ON    THE    PRINCIPLES    OF 

tion  and  beauty  admit.  The  serpentine  line,  the  line  of 
"beauty  in  sculpture  and  painting,  is  only  admissible  in 
ornaments  and  the  profile  of  mouldings  (except,  we  may 
say,  in  Gothic  and  corrupt  Italian  pediments).  Even  -where 
unbounded  scope  would  seem  to  be  given  to  produce 
variety  of  lines  and  forms,  in  the  patterns  of  paper  hang- 
ings, drapery,  and  female  dresses,  original  invention  is 
extremely  limited,  and  every  possible  variety  may  be 
classed  under  three  species  :  spotted,  striped,  or  running 
patterns,  or  combinations  of  these.  But  even  a  regular 
arrangement  of  spots,  stars,  or  rosettes,  must  run  in 
straight  lines,  and  suggest  straight  lines  to  the  imagination ; 
and  even  running  patterns  on  repetition  appear  to  occupy 
rectangular  spaces  ;  so  that  all  formal  design  is  ultimately 
reduced  to  straight  and  curved  lines,  as  its  simple  elements. 
The  utmost,  therefore,  that  the  architect  or  designer 
can  do  in  the  present  advanced  age  of  art,  is  to  select 
some  appropriate  and  pure  style,  and  recombine  and 
imitate  its  best  elements  and  features.  Though  archi- 
tecture thus  appears  to  be  the  least  capable  of  originality 
of  all  the  Fine  Arts,  yet  even  in  selecting  and  combining 
there  is  ample  scope  for  taste  and  genius.  It  was  surely 
original  genius  in  Michael  Angelo,  to  conceive  the  idea  of 
raising  the  dome  of  the  Pantheon  above  the  Basilica  of  St. 
Peter's.  Whatever  site  may  be  selected  for  an  edifice  will 
most  probably  present  some  peculiarity  which  must  be  con- 
sulted, and  may  often  be  taken  advantage  of  in  suggesting 
some  novel  and  characteristic  disposition.  Requirements, 
limits,  and  obstructions  of  various  kinds,  may  lead  to 
invention  and  beauty,  in  seeking  to  overcome  them.  If 
we  must  imitate,  there  is  no  necessity  for  direct  plagiarism. 


DESIGN    IN    ARCHITECTURE.  25 

Whatever  style  or  main  idea  we  adopt,  we  must  suit  the 
accessories  to  it ;  we  must  fit  even  a  borrowed  design  to 
its  place  and  dimensions  ;  and  this  will  be  better  done  in 
the  end  by  a  thorough  remodelling  of  the  idea  into  a 
perfect  and  consistent  whole.  It  requires  judgment  to 
choose  the  best  from  what  is  before  us, — taste  to  make  a 
cento  of  elegant  extracts  from  the  thoughts  of  others. 

In  the  application  of  the  orders  to  street  architecture 
we  would  advocate  great  freedom,  especially  with  half  or 
three-quarter  columns,  or  pilasters  engaged  in  a  wall. 
Here  we  should  not  scruple  to  omit  an  architrave,  frieze, 
or  cornice,  and  to  regulate  the  entire  proportions,  as  may 
best  suit  the  part  of  the  design  in  which  they  are  intro- 
duced. In  small  columns,  a  fancy  capital  of  few  and 
simple  parts,  in  a  taste  corresponding  with  the  general 
design,  is  far  preferable  to  a  miniature  reduction  of  some 
classical  authority. 

The  present  age  is  distinguished,  in  our  opinion,  by  too 
cosmopolitan  a  taste  for  variety  of  styles,  with  a  view  to 
the  production  of  novelty  and  picturesqueness.  Buildings 
of  totally  opposite  styles,  when  in  close  proximity,  destroy 
each  other's  effect,  and  where  styles  are  much  varied,  give 
the  appearance  of  a  city  in  masquerade.  For  our  own 
taste,  we  should  eschew  all  impure,  mixed,  and  transition 
styles,  and  for  city  architecture  should  adopt  the  Italian, 
and  for  rural  the  Italian  or  Gothic,  according  to  the  kind 
and  situation  of  the  building.  The  Gothic,  as  our  friend 
E.  B.  Lamb  observes,  in  his  "  Studies  of  English  Domestic 
Architecture,"  is  the  truly  national  English  style,  origin- 
ating from  our  Norman,  if  not  from  our  Anglo-Saxon  an- 
cestors, and,  as  such,  has  the  strongest  claim  to  be  adopted 


26  AN   ESSAY    ON    THE    PRINCIPLES    OF 

by  the  cis-atlautic  descendants  of  the  mother  country. 
For  churches  and  colleges,  or  schools,  country  mansions 
and  cottages,  nothing  can  be  more  eligible,  either  in  point 
of  convenience  or  beauty  ;  but  for  general  street  architec- 
ture and  miscellaneous  public  buildings,  it  will  be  found 
irreconcilable  with  modern  requirements,  nor  could  cha- 
racteristic models  of  such  an  application  of  the  style  be 
derived  from  antiquity,  the  towii  buildings  of  the  middle 
ages  being  generally  constructed  of  wood.  The  few 
attempts  for  private  dwellings  and  stores  in  this  style  re- 
cently made  in  this  city,  have,  in  our  opinion,  completely 
failed,  not  to  mention  their  incorrectness  of  detail ;  while 
they  have  unfortunately  afforded  examples  of  window- 
dressings,  &c.,  for  the  uninstructed  to  copy  from,  and  mix 
up  incongruously  with  other  styles. 

Street  architecture,  the  more  direct  object  of  this  work, 
has  peculiar  features  and  requisites,  which  it  is  worth  while 
to  dwell  upon  for  a  moment.  A  street  building  presents  most 
often  a  mere  front,  and  this  front  can  only  be  viewed 
directly  from  the  limited  distance  of  the  opposite  side  of  the 
street,  or  obliquely  as  we  pass  along.  A  more  distant 
direct  view  of  a  street  building  in  which  the  opposite 
houses  are  supposed  by  the  draughtsman  to  be  removed 
away,  gives  no  idea  of  its  real  effect.  Such  views  can  never 
do  justice  to  the  architect,  for  surely  a  flat  mass  of  building, 
which  a  street  front  must  necessarily  be,  was  never 
intended  to  stand  isolated  in  an  open  square,  as  it  is  re- 
presented. But  truth  and  nature  are  never  deserted  with 
advantage  ;  views  of  street  buildings  should  always  be 
taken  obliquely,  and  show  the  neighbouring  houses  as  well, 
because  they  in  fact  assist  to  support  them,  and  form  part  of 


DESIGN    IN   ARCHITECTURE.  27 

the  general  effect ;  and  if  well  designed,  their  heights  and 
projections  were  regulated  so  as  to  look  best  from  an 
oblique  point  of  view.    Windows  are  the  main  features  of 
street  architecture,  and  on  the  forms,  grouping,  and  deco- 
ration of  these,  the  originality  and  beauty  of  the  design 
principally  depend.     Where  there  are  three  windows  in 
width,  a  wider  and  more  ornamented  centre  window  may 
be  introduced  with  advantage.     But  this  should  be  a  Vene- 
tian window  with  two  narrowed  side  lights  :  double  win- 
dows, confusing  their  architraves  together,  are  very  objec- 
tionable, as  placing  a  muUion  or  solid  part  in  the  centre 
line  of  the  elevation.     But,  indeed,  all  mullions  or  divisions 
in  windows  are  Gothic  in  their  principle,  and  discordant 
with  Grecian  or  Italian  design  ;  as  are  also  semicircular- 
headed  windows  divided  into  two  smaller  semicircles  by 
the  sash-frame,  although  examples,  not  worthy  of  adoption, 
of  these  may  be  seen  in  Florence  and  Venice.      Where 
there  are  five  or  more  windows  in  width,  we  would  not 
recommend  a  richer  centre  window  ;  but  would  preserve 
them  all  of  equal  heights.     It  is  better  to  extend  the  outer 
windows  as  near  as  possible  to  the  party  walls  than  to 
squeeze  them  too  close  together  ;  except  in  a  corner  house, 
where  a  wide  pier  at  the  angle  is  required  both  for  strength 
and  appearance  ;  although  this  rule  is  sadly  violated  in  this 
city.     Architraves  seem  to  add  to  the  width  of  the  win- 
dows, and  detract  from  that  of  the  piers ;  therefore  they 
should  not  be,  as  they  too  frequently  are,  wider  than  ne- 
cessary.   We  may  here  insert  our  objection  to  heavy  dress- 
ings and  decorations  of  all  kinds.     We  attribute  the  pre- 
valence of  them  to  a  remnant  of  Grecian  taste  ;  but  Roman 
and  Italian  decorations  and  dressings  should  be  far  lighter, 


28  AN    ESSAT    OK   THE    PRINCIPLES    OP 

to  correspond  to  the  taller  and  more  elegant  orders  to 
which  they  are  attached. 

The  next  important  feature  of  street  architecture  is  the 
cornice — and,  under  this  head,  we  wish  to  impress  upon 
the  public  and  the  profession  the  beauty  and  value  of 
string-courses  and  horizontal  lines  in  every  building.  In 
point  of  utility,  they  serve  as  an  external  real  and  apparent 
bond  to  the  wall,  like  the  internal  bond-timber  and  plates 
for  the  floors,  while  they  divide  the  stories  of  the  house 
into  whatever  heights  may  best  suit  the  composition,  and 
counteract  the  excessive  height  of  numerous  stories  ;  and 
also  assist  the  perspective  effect,  when  viewed  sideways, 
in  carrying  the  eye  in  easy  and  agreeable  gradations  to 
the  point  of  sight;  instead  of  presenting  a  single  acute 
triangular  form  from  the  foundation  to  the  summit  of  the 
building.  It  is  true,  the  window  heads  and  sills  make  this 
division  in  some  degree,  but  in  broken  projections,  and  not 
continuously.  In  general,  where  window  sills  meet  each 
other  very  nearly,  it  is  far  better  to  join  them  entirely  by 
a  continued  fascia,  or  similar  mouldings  of  the  sill,  recessed 
back  an  inch  or  less.  It  is  difficult  to  imagine  how  such 
a  simple  and  effective  feature  as  a  continued  window-sill 
or  string-course  should  have  never  been  in  general  use  in 
this  city.  The  commonest  houses  in  Europe  of  three  or 
more  stories  will  always  have  one,  or  some  horizontal 
band  of  a  similar  nature  ;  in  Italy  there  is  often  one  to 
every  story,  and  never  more  than  three  stories  without  one. 

"We  are  glad  to  see  projecting  porticoes  to  dwelling- 
houses  superseded  by  the  very  elegant  and  convenient 
recessed  porches,  now  prevalent.  TVe  can  suggest  no- 
thing more  tasteful  than  the  Italian  arched  entrance,  with 


DESIGN    IN-    AuCniTECTCRE,  £9 

enriclied  bracket  and  cornice,  of  which  the  modern  por- 
tion of  the  city  exhibits  various  unexceptionable  examples. 
If  projecting  porticoes  are  ever  used,  we  should  prefer 
the  closed  to  the  open  ones,  and  only  to  single  mansions, 
where  they  may  have  some  peculiar  characteristic  inten- 
tion, in  connexion  with  the  general  design,  in  obtaining 
a  distingue  effect.  In  a  long  row  of  houses  a  series  of 
similar  projecting  porticoes  has  an  effect  approaching  to 
the  ridiculous. 

It  is  a  pity  that,  owing  to  the  sale  of  land  in  separate 
lots,  built  upon  according  to  the  individual  taste  of  the 
owner,  New  York  will  perhaps  never  be  able  to  boast  of 
a  handsome  Square.     In  streets,  a  row  of  similar  houses 
when  long  becomes  monotonous  ;  the  more  variety,  the 
greater  the  picturesqueness.     But  squares  require  unifor- 
mity  of  architecture  to  complete  the  effect  of  the  regular 
plot  of  ground  they  enclose.     In  this  situation  houses 
better  or  worse  than  each  other,  one  up  and  one  down, 
have  the  effect  of  a  ragged  regiment  of  recruits,  compared 
with  a  well-drilled  line.     In  squares,  the  corner  houses  of 
the  block  may  be  higher  and  more  decorated  than  the 
rest  ;    but  a  more  decorated  centre  compartment  is  im- 
proper, as  implying  the  false  idea  of  a  single  building, 
with  an  entrance  in  the  centre. 

Within  the  last  few  years  the  city  of  New  York  has 
made  great  advances  in  architectural  taste  and  display, 
both  in  public  and  private  edifices.  Fifteen  years  ago  the 
cities  of  Philadelphia  and  Baltimore  might  perhaps  have 
justly  claimed  superiority  in  this  respect.  But  the  greater 
comparative  increase  of  population,  commerce,  and  wealth 
of  the  "  Empire  "  city  have  since  then  manifested  them- 


30  AX   feSSAY    ON   THE   PRINCIPLES    OF 

selves  externally  in  the  splendor  of  the  stores  and  resi- 
dences of  its  most  eminent  merchants,  which  are  now- 
setting  the  example  of  similar  magnificence  in  the  other 
principal  cities  of  the  Union.  At  the  distance  of  time 
just  mentioned,  it  happened  to  be  the  task  of  the  present 
writer  to  publish  a  short  "  Critical  View  of  the  Archi- 
tecture of  New  York,"  in  "  Loudon's  Architectural  Ma- 
gazine," since  merged  in  the  "  Engineer's  and  Architect's 
Journal."  At  that  time  the  new  Custom-house  and  Ex- 
change were  unfinished,  the  mean-looking  old  Trinity 
Church  still  standing,  and  the  City  Hall,  and  the  Centre 
Street  Prison,  the  most  striking  objects  of  commendation. 
Of  private  buildings,  only  the  interiors  of  a  few  stores 
had  any  pretensions  to  taste  ;  while  a  few  plain  brick  and 
stone  mansions  about  Bond  Street,  and  Washington 
Square,  and  the  marble  row  in  Lafayette  Place,  were  the 
best  specimens  of  private  residences.  Although  the  Ex- 
change and  Custom-house  have  not  obtained  praise  except 
for  size  and  substantiality  (the  interior  of  the  latter,  how- 
ever, is  only  too  rich  and  elegant  for  its  purpose),  the 
erection  of  the  splendid  new  Trinity  Church  has  formed 
an  era,  as  well  as  a  model,  in  ecclesiastical  architecture, 
the  need  of  which  was  pointed  out  in  the  criticism  above 
mentioned.  The  only  fault  we  can  find  in  this  beautiful 
work  (most  probably  not  the  architect's)  is,  that  the  spire 
should  have  been  a  little  higher  and  more  tapering. 

But  it  is  in  its  hotels,  stores,  and  private  residences,  that 
this  city  has  advanced,  as  some  questionably  assert,  to  a 
degree  of  extravagance.  Among  them,  we  would  specify 
and  commend  as  most  to  our  individual  taste  : — Delmoui- 
co's,  near  the  Bowling  Green,  the  earliest  introduction. 


DESIGN    IN"   ARCHITECTURE.  31 

"we  believe,  of  Italian  street  architecture  ;  the  Metropoli- 
tau,  which  we  consider  the  chastest  and  best-proportioned 
Hotel-front  yet  erected  ;  Stewart's  store,  the  chastest  and 
best-proportioned  of  stores,  except  its  injudicious  division 
into  five  nearly  equal  portions  in  width  ;  the  very  meri- 
torious Trinity-building,  and  its  neighbouring  block  ;  the 
Harmony-building  ;  the  Insurance-building  in  Wall 
street,  perhaps  the  most  beautiful  Italian  structure  in  the 
city,  as  well  as  a  smaller  neighbouring  one  to  the  west ; 
the  Seamen's  Saving  Bank  ;  the  Seventh  Ward  Bank  in 
Pearl  street ;  the  Ocean  Bank  in  Greenwich  street, 
though  too  much  cut  up  by  perpendicular  projections  and 
recesses,  and  almost  spoilt  by  a  sham  pediment  out  of 
place  ;  and  the  Bowery  Savings  Bank.  Among  the  new 
private  houses  and  mansions,  we  most  admire  the  two 
earliest  precursors  in  the  Italian  style,  one  at  the  S.  E. 
corner  of  15th  street  and  5th  avenue,  and  the  other  in 
16th  street  west  of  5th  avenue,  with  the  fountain  in  the 
fore-court  ;  the  mansion  at  the  N.  E.  corner  of  5th  ave- 
nue and  West  21st  street ;  a  dwelling-house  at  the  N.  W. 
corner  of  Madison  square,  the  third  house  from  the  5th 
avenue,  with  a  belvedere  on  the  roof,  the  most  tasteful, 
in  our  opinion,  of  that  size  yet  built  ;  two  houses  with 
projecting  Roman  Doric  porches,  at  the  N.  E.  corner  of 
18th  street  and  5th  avenue  ;  a  large  mansion  at  the  S.  E. 
corner  of  16th  street  and  5th  avenue  ;  the  second  house 
from  the  N.  W.  corner  of  14th  street  and  5th  avenue, 
with  circular-headed  windows  in  the  Florentine  style  ; 
and,  perhaps  the  purest  specimen  of  the  Italian  palazzo  in 
the  whole  city,  a  mansion  near  the  south  end  of  the  east 
side  of  University  Place. 


32'  AN   ESSAY    OX   THE    PRINCIPLES    OF 

The  above-mentioned  buildings  we  believe  will  secure 
tlie  lasting  approbation  of  the  best  judges,  and  we  would 
confidently  recommend  them  as  the  best  mode  for  imita- 
tion yet  furnished  in  this  country,  as  well  as  appeal  to 
them  ourselves  as  exemplifications  of  the  principles  we 
have  laid  down  in  this  essay,  particularly  in  the  propor- 
tioning of  the  solid  to  the  void  parts  of  the  front,  and  in 
the  introduction  of  sufficient  horizontal  lines  into  the  com- 
position ;  and  we  hope  that  the  candour  with  which  we 
have  commended  the  productions  of  fellow  artists,  all 
personally,  and  almost  all  nominally  unknown  to  us,  will 
free  us  from  the  imputation  of  invidiousness,  in  passing 
over  without  notice  many  other  works  of  equal  pretension, 
which  from  their  over-crowded  windows,  want  of  string 
courses,  incorrectness  or  confusion  of  styles,  contradict 
all  the  principles  of  design  we  have  been  advocating  in 
this  volume. 

A  word  or  two  as  to  the  materials  used  in  this  city,  and 
their  relative  claims  for  preference.  Of  these  the  Con- 
necticut or  Jersey  sandstone  looks  best  in  a  Gothic  build- 
ing, though  the  darkness  of  its  hue  prevents  the  projec- 
tions and  carvings  from  exhibiting  their  due  light  and 
shade.  For  this  reason,  in  all  other  buildings  but  Gothic 
churches  we  prefer  it  mixed  with  red  brick,  as  it  harmo- 
nizes so  well  when  thus  united,  and  appears  lighter  itself 
by  the  contrast.  We  also  strongly  recommend  it  for  the 
Elizabethan  style,  in  schools,  colleges,  suburban  and  rural 
villas  ;  in  which  last  subjects  we  are  surprised  that  no 
travelled  gentleman  of  taste,  who  has  seen  its  good  effect 
in  the  old  country,  should  yet  have  adopted  it.  The 
Quincy  granite,  being  incapable  of  minute   carving,  is 


DESIGN    IN    ARCHITECTURE.  33 

unavailable  for  any  but  massive  and  plain  works.     But 

we  should  rejoice  to  see  the  white  marble,  though  more 

expensive  than  the  sandstone,  yet  the  most  beautiful  of 

all   materials   (except   that  it  will    not  harmonize  with 

red  brick),  more  generally  adopted  ;  and   hope  that  the 

example  of  Stewart's,  and  Bowen's  and  McNamee's  stores, 

and  the  St.  Nicholas  Hotel,  &c.,  will  be  followed  in  all 

other  first-class  edifices.      Neat  and  chaste  as  the  brown 

sandstone  appears,  the  testimony  of  experience,  and  the 

evidence  of  our  own  eyes  in  the  older  buildings  of  that 

material,  proves  its  liability  to  crumble  and  decay  from 

the  effects  of  the  atmosphere  in  a  short  period  of  years, 

as  well  as,  we  fancy,  to  turn  aarker  by  time  ;  whereas 

marble  furnishes  an  almost  imperishable  material,  which 

can  be  cleaned  or  refaced  when   discoloured,  as  it  has 

lately  been  done  at  the  City  Hall. 

Cast  iron  has  lately  been  extensively  used  in  columns, 
pilasters,. and  beams  of  stone  fronts,  and   sometimes  in 
entire  fronts.     It  requires  time  to  demonstrate  the  relative 
value  and  eligibility  of  this  material  in  the  end.     Besides 
the  objection  to  all  imitations  of  superior  substances,  there 
is  a  necessary  flatness  and  stiffness  in  all  cast,  compared 
with  carved,  foliage  and  ornament.      But  as  it  bids  fair  to 
be  extensively  used,  it  may  be  as  well  to  point  out  the 
most  advantageous  forms  it  should  adopt ;  which,  we  con- 
ceive, should  be  a  medium  between  the  solidity  of  stone 
and  a  mere  framing  to  glass,  which  was  first  attempted. 
The  designs  in  this  book  which  could  be  best  converted  to 
the  purpose  are  No.  2,  Plato  1,  and  Plate  2,  and  the  store 
on  Plate  5  ;  and,  in  addition,  we  would  recommend  an  imi- 
tation of  that  side  of  the  Piazza  of  St.  Mark's  at  Venice. 


34  AX    ESSAY    OX    THE    PRINCIPLES    OF 

which  is  composed  of  several  stories  of  small  pillars  and 
arches,  with  deep  entablatures  between.  Entire  circular 
windows  would  look  well  on  the  uppermost  story,  and 
have  already  beoti  adopted  in  such  designs. 

We  have  just  noticed  the  absence  of  horizontal  and  the 
unnecessary  insertion  of  perpendicular  lines  as  the  preva- 
lent fault  of  street  architecture.  Another  still  more  objec- 
tionable practice  has  arisen,  from  the  effort  to  disguise 
numerous  stories  of  windows,  in  the  recent  Grecian  style, 
namely,  of  making  the  windows  a  mere  blank  space  be- 
tween wide  pilasters,  and  the  space  between  the  heads  of 
the  lower  and  the  sills  of  the  upper  windows,  a  sort  of 
sunk  frieze,  with  nothing  to  support  it.  Another  equal  or 
worse  anomaly  is,  the  Procrustean  stretching  out  of  a  single 
window  architrave,  so  as  to  make  it  serve  for  two  win- 
dows, one  above  another.  All  these  expedients  are  merely 
the  pursuit  of  novelty,  at  the  expense  of  beauty,  propriety, 
good  construction,  and  common  sense. 

In  the  descriptions  accompanying  our  designs,  we  have 
made  other  particular  observations  of  this  kind,  wherever 
instances  occurred  to  suggest  them  ;  but,  before  we  con- 
clude this  short  and  imperfect  essay,  we  would  recur  to 
our  starting  point,  where  we  defined  Proportion,  the  chief 
part  of  the  Art  of  Design,  as  depending  upon  taste  and 
judgment,  and  a  sense  of  harmony  in  a  cultivated  eye  ;  as 
a  taste  in  music  arises  from  a  cultivated  ear.  With  this 
view,  we  would  strongly  inculcate  the  necessity  of  culti- 
vating an  eye  for  proportion,  and,  as  the  best  mode  of  so 
doing,  we  would  recommend  the  practice  of  designing  and 
sketching  by  the  eye  alone,  and  from  memory,  without 
ruler  or  compasses :  never  forgetting  the  perspective  efl'cct 


DESIGN    IN    ARCHITECTURE.  36 

in  execution.  Nothing  but  the  practice  of  drawing  by  the 
eye  alone,  forces  the  eye  to  notice  proportion  and  form. 
The  nearer,  also,  we  bring  our  designs  to  relative  correct- 
ness in  the  first  sketch,  the  easier  it  can  be  drawn  out  to 
correct  admeasurement.  The  Grecian  and  Italian 
architects  were  often  painters  and  sculptors  as  well ; 
painters  are,  in  general,  the  best  judges  of  architecture  ; 
and  the  more  an  architect  feels  as  an  artist,  and  the  greater 
general  knowledge  of  the  fine  arts  he  possesses,  the  greater 
evidence  will  his  designs  present  of  invention,  judgment, 
and  taste.  It  is  the  general  advancement  of  architectural 
taste  that  has  been  the  principal  aim  of  this  little  work  : 
and  we  shall  be  less  pleased  to  see  our  own  designs 
servilely  copied,  than  we  shall  be  to  see  original  and 
better  designs  constructed  on  the  principles  which  we 
have  advocated,  and  believe  to  be  founded  on  truth. 

The  author  cannot  better  conclude,  than  by  quoting  the 
last  sentence  of  his  former  criticism,  written  in  1838,  in 
which  he  ventured  upon  the  prophecy,  already  half  fulfill- 
ed :  "  that  the  recent  evidences  of  improving  taste  and 
public  spirit  of  the  citizens,  afl"ord  the  most  certain 
promise,  that,  at  some  future  day,  New  York  will  equal 
in  splendour,  as  well  as  in  prosperity,  the  proudest  cities 
of  the  old  world." 


frsrrijition  nf  ik  ^Intfs. 


DESCRirilON  OF  THE  PLATES, 


GENERAL  OBSERVATIONS. 


The  designs  are  drawn  of  dimensions  suited  to  first 
class  buildings  of  their  kind,  and  the  heights  of  stories 
proportioned  to  the  width  of  the  front,  so  that,  if  re- 
quired to  be  reduced  in  size,  lit'tle  or   no  alteration  in 
proportion  will  be  necessary.     The  basement  stories  are 
kept  lower  than  usual  above  the  ground,  in  order  not  to 
injure  the  effect  of  the  geometrical  elevations  :  in  execu- 
tion they  might  be  raised  higher  without  detriment.     In 
forming  a  judgment  of  the  designs,  it  must  be  borne  in 
mind,  that  the  effect  of  a  single  street  house  can  never  be 
so  good  as  when  apparently  supported  by  and  contrasted 
with,  an  adjoining  building  on  one  or  both  sides.     The 
appearance  of  too  great  height,  which  it  presents  when 
alone,  is  completely  removed,  when  forming  part  of  a  long 
range  of  buildings.     For  this  reason,  an  additional  story 
might  be  added  (beneath  the  attic)  to  most  of  the  street 
elevations,   without  injuring    their   effect   in   execution. 
Outline  ground  plans  are  given,  where  required,  to  show 
the  projections  of  the  elevations,  and  shadowing  in  fine 
lines   is  occasionally  added,  to  distinguish  columns  and 
other   circular    parts   from   pilasters    and   flat   surfaces. 
Chimneys  have  often  been  omitted,  as  standing  too  far 


40  DESCniPTION    OF    THE    PLATES. 

back  to  be  visible  iu  the  front  view.     The  returns  of  all 
cornices  and  string  courses  have  been  drawn,  for  the  sake 
of  showing  their  profiles,  and  completing  the  symmetry 
of  the  designs.     In  execution,  where  this  cannot  be  done, 
we  think  it  preferable,  in  general,  to  cut  them  off  perpen- 
dicularly on  the  line  of  the  party-wall,   rather  than  to 
make  the  cornice  return  within  itself,  as  it  were,  against 
a  plain  fascia.     But  it  would  greatly  increase  the  beauty 
of  street  architecture,  if  neighbours  would  mutually  agree 
to  suffer  the  upper  cornice,  at  least,  to  return  over  each 
other's  premises,  or  against  the  adjoining  front  wall  :  it 
might  be   subsequently' cut   off,   if  found   objectionable. 
Perhaps  this  is  the  best  place  to  remark  upon  the  prac- 
tice, justly  objected  to  by  a  critic  in  "  Putnam's  Maga- 
zine,"  of    disfiguring   the   fronts   of    stores   and    public 
buildings,  by  enormous,  tasteless,  and   superfluous    sign- 
boards.    It  is  utterly  throwing  money  away  on  architec- 
tural decoration,  if  every  feature  is  to  be  disguised  and 
obliterated   from  notice   by  masses   of  black  board  and 
gold   letter.     The   plain   parts  of  the  wall   which    they 
occupy   are   absolutely  necessary   to   give  relief  to   the 
dressings   and  ornaments.     Nothing  but  the  name  of  a 
firm  is  really  indispensable  :  the  business  may  be  denoted 
best  by  a  sample  of  goods  in  the  window,  or    the  glass 
door.     But  to  make  our  streets  nothing  but  a  newspaper 
column  of  advertisements,  is  not  only  the  worst  of  taste, 
but  quackery  and  puffing,  which,  when  universally  adopted, 
defeats  itself,  and  has  no  effect  upon  the  passengers  but 
annoyance  and  distraction.     The  only  proper  place  for 
inscriptions  is  the  frieze  over  the  store-front,  or  a  tablet 
between  the  windows  of  the  second  and  third  stories,  and 


DESCRIPTION    OF    THE    PLATES.  41 

these  should  be  painted  in  stone  colour  to  match  the 
building,  as  if  sunk  in  the  stone  ;  or,  if  in  raised  letters, 
coloured  bronze.  In  public  buildings,  and  suites  of  offices, 
the  tenants  should  only  be  allowed  to  affix  their  names 
and  designation  on  the  blinds  of  their  windows,  where 
they  will  be  most  indicative  of  their  situation,  and  least 
destructive  of  architectural  effect.  An  act  of  the  Corpo- 
ration is  absolutely  required  to  repress  the  nuisance  of 
signs  and  street  obstructions.  After  all,  a  conspicuous 
architectural  front  like  Stewart's  without  even  a  name 
upon  it,  is  the  best  mode  of  distinction,  and  the  most 
striking  advertisement  of  itself. 


42  DESCRIPTION    OF    THE    PLATES. 


PLATE    I. 

DESIGN   I. — WHOLESALE   STORE. 

This  design  is  an  exemplification  of  the  superiority  of 
arches  to  square-headed  windows,  in  affording  more  light, 
and  admitting  of  being  closer  together,  without  producing 
a  bad  effect.  Till  recently,  in  a  few  examples,  arched 
windows  have  been  scarcely  ever  used  in  this  city.  The 
arrangement  of  arches,  in  the  present  example,  will  be 
seen  to  be  different  from  any  yet  erected.  On  observation, 
the  central  and  the  two  exterior  windows  of  all  the  upper 
stories  will  be  perceived  to  be  perpendicular  over  the 
centre  of  the  three  larger  arches  below,  while  tlie  inter- 
mediate piers  are  made  into  additional  windows  on  the 
second  and  third  stories.  For  the  sake  of  variety,  we 
have  dropped  the  intermediate  arches  on  the  third  story, 
a  strong  stone  or  iron  lintel  taking  their  place.  The  two 
upper  stories  requiring  less  space  for  light,  three  slightly 
narrower  windows  give  a  fresh  variety  to  this  part.  We 
would  recommend  this  narrowing  of  upper  windows  as  a 
good  general  principle.  By  making  the  string-course 
under  the  fourth  story  windows  of  inferior  projection,  and 
stopping  against  the  external  quoins  of  the  building,  an 
agreeable  variety  is  given  to  the  composition.  The 
pannels  over  the  arches  of  the  store-front  are  introduced 
for  the  purpose  of  connecting   and  harmonizing  the  divi- 


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DESCRIPTION    OF   THE    PLATES.  43 

sions  of  three  and  five  apertures  ;  as  also  are  the  rustic 
pilasters  on  the  attic  story,  which  serve  as  well  to  recal 
the  idea  we  started  from  below.  This  design  would  look 
best  in  red  brick  and  brown  stone  :  the  topmost  arches  are 
intended  to  be  of  brick.  A  row  of  three  or  four  ware- 
houses of  this  design  would  look  better  than  one  alone. 


DESIGN   II. — STORE. 

This  elevation,  as  well  as  the  preceding  one,  is  Venetian 
in  its  character,  displaying  a  still  richer  arrangement  of 
circular-headed  windows,  mixed  with  a  few  square  ones, 
to  give  relief  and  variety.  A  gradation  in  the  height  of 
the  stories  is  observed,  which  has  always  a  good  effect. 
The  first,  or  the  second  story  from  the  ground,  should  be 
made  the  highest  or  principal  story.  In  the  present  case, 
the  basement  that  appears  above  the  ground,  seems  to 
belong  to  the  lowest  story,  and  inevitably  gives  it  the 
greatest  importance,  otherwise  we  should  have  given  the 
greatest  height  to  the  second  story,  as  the  best  general 
rule.  Coupled  circular-headed  windows  are  not  uncom- 
mon in  Italy,  but  we  do  not  think  they  have  a  good  effect : 
coupled  square-headed  windows  are  against  all  rule  and 
practice  in  Italian  architecture  ;  all  mullions  between 
windows  are  Gothic  in  principle.  The  three  lower  orders 
will  be  seen  by  the  shading  to  be  intended  for  three-quarter 
columns  ;  the  two  upper  ones  for  square  pilasters,  project- 
ing about  a  third  of  their  diameter.  This  design  would 
look  best  in  white  marble,  or  some  light-coloured  stone. 


44  DESCRimOX    OF    THE    PLATES 


PLATE    II. 


A   STORE. 


This  design  is  of  similar  character,  but  less  elaborate 
and  costly  than  the  preceding  one.  The  upper  balconies 
would  be  of  iron,  the  lower  either  of  iron  or  stone.  The 
upper  windows  are  purposely  kept  plain,  to  increase  the 
effect  of  the  lower,  which  meet  the  eye  the  soonest  and 
oftenest.  Though  it  is  the  general  practice  in  this  city, 
to  place  the  main  cornice  of  the  building  over  the  attic 
story,  yet  in  a  building  of  as  many  as  five  stories,  it  will 
generally  be  found  more  effective,  to  place  it,  as  here,  below 
the  attic  ;  thus  giving  the  attic  story  its  natural  and 
original  place  over  the  regular  orders  of  architecture. 
The  cornice  itself  is  thus  brought  nearer  the  eye,  and  seen 
to  greater  advantage  ;  and  the  otherwise  disproportioned 
height  of  a  building  apparently  diminished.  In  point  of 
construction,  too,  it  is  preferable  ;  since  the  weight  of  the 
attic  wall  above  counterbalances  the  heavy  projection  of 
the  cornice,  if  of  stone,  which  it  necessarily  appears  to  be. 


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DESCRIPTION    OF    TIIK    PLATK8.  43 


PLATE     III. 

DWELLING-HOUSES. 

In  these  three  designs  we  have  given  arrangements  of 
windows  and  string-courses,  that  we  have  not  seen  pre- 
viously adopted  in  this  city  ;  but  amid  the  great  number 
of  houses  now  in  process  of  erection,  or  built  since  these 
designs  were  drawn,  many  casual  instances  of  similarity 
may  have  escaped  our  notice.  Here,  as  throughout  this 
work,  it  will  be  apparent  that  the  simpler  Italian  is  our 
favorite  taste  ;  leaving  to  those  who  choose  to  adopt 
them,  the  less  pure,  though  more  florid  examples  of  the 
later  Italian,  the  French  of  Louis  XIV.  and  XY.,  or  the 
English  of  the  age  of  Wren.  But  as  onr  object  is  not 
detail,  but  general  design,  any  variation  of  the  style  and 
ornament  could  easily  be  applied  to  the  proportions  de- 
fined, and  as  far  as  proportion  extends,  would  have  an 
equally  good  effect. 

No.  1. — The  leading  feature  of  this  is  the  stone  balcony 
over  the  first  story,  which  in  a  row  of  houses  forms  a 
striking  bond  of  connexion,  as  well  as  a  shade  and  shel- 
ter to  the  windows  and  door,  without  requiring  any  break 
or  projection  for  a  portico,  which  in  a  series  of  houses  of 
the  same  design  we  would  never  recommend. 

No.  2. — The  connected  pediment  window-heads,  and  the 
oval  attic  windows,  are  from  Venetian  examples.  The 
vertical  supports  under  the  pediments,  and  those  below 


46  DESCRFPTION    OF    THE    PLATES. 

inclosing  tlie  panucls,  arc  intended  to  be  inverted  ogee 
brackets.  The  pilasters  and  arched  dressings  to  the  first 
story  windows  and  door  might  be  either  plain,  or  with  a 
hollow  quadrant  edge,  projecting  one  or  one  and  a  half 
inch  from  the  face  of  the  wall. 

No.  3. — In  the  first  story  windows  and  door  of  this 
example,  there  is  a  second  recessed  arch,  with  a  bed- 
moulding,  under  the  main  architrave,  supported  by  a  quad- 
rant column,  and  a  small  capital,  the  mouldings  of  which 
die  away  against  the  reveals  of  the  window.  The  rustic 
quoins  are  made  wider  at  the  external  angle  to  the  right 
hand,  those  on  the  left  being  intended  to  be  like  a  half- 
pilaster,  which,  of  course,  would  be  continued  to  double 
the  width  in  a  row  of  similar  houses. 

As  the  design  of  a  dwelling-house  is  nothing  but  an 
agreeable  arrangement  of  windows  and  door,  a  judicious 
selection  from  the  doors  and  windows  of  our  other  designs 
without  confusing  those  of  diflercnt  styles,  will  add  to  the 
variety  of  examples  here  furnished. 


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DZSCRIPTIOX    OF   THE    PLATES.  ,  47 


PLATE    IV. 

BANK,    OR   PUBLIC    OFFICES. 

The  grooved  quoins,  at  the  angles  of  this  elevation,  are 
common  in  Italian  buildings,  and  are  not  only  useful  for 
strength  of  construction,  but  form  a  visible  perpendicular 
support  for  the  main  frieze  and  cornice  of  the  building, 
and  a  demarcation  of  the  whole  composition,  whether  con- 
sidered in  itself,  or  in  connexion  with  the  adjoining 
buildings.  The  Italian  mode  of  making  circular  corners 
at  the  external  angle  of  a  block  of  building,  is  here  in- 
troduced ;  a  similar  elevation  of  five  or  more  windows  in 
width  being  meant  to  be  continued  on  the  returning  side. 
Circular  corners,  in  general,  however,  are  rather  carpen- 
ters' and  cabinet-makers'  contrivances  for  wood-work, 
than  legitimate  modes  of  construction  in  stone.  With  a 
wide  sweep,  and  with  doors  and  windows  in  them,  we  do 
not  think  them  eligible,  either  in  construction  or  effect. 
They  tend  to  weaken  the  angle,  which  should  be  the  most 
solid  part  of  the  building,  and  by  placing  the  central 
object  of  the  composition  at  the  intersection  of  the  per- 
spective lines  of  the  two  sides,  attract  the  eye  too  much 
to  that  most  unpleasing  point.  The  outline  plan  displays 
the  three-quarter  columns  and  pediment  heads  to  the  first- 
story  windows,  which  would  have  a  dignified  and  massive 
effect,  standing  out  from  the  shadow  of  the  arched  recess 
in  which  they  arc  placed.     The  sill,  on  which  the  columns 


48  DESCRIPTION    OF    THE    PLATES. 

rest,  is  supported  by  upright  inverted-ogee  cantilevers. 
The  architrave  of  the  door,  projecting  forwards,  ^eaves 
about  a  quarter  column  on  each  side,  similar  to  the  win- 
dow dressings.  The  quadrant  hollow  at  the  angles  of  the 
arches  and  piers  has  a  good  effect  in  execution  ;  but  the 
caps  of  the  piers  are  intended  to  be  square-angled.  The 
ui)pcr  windows  are  intentionally  made  plainer,  and  sub 
servient  to  the  principal  story. 


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DESCRIPTION    OF    THE    PLATES.  49 


PLATE    T. 

DWELLING-HOUSE. 

Here  we  have  endeavored  to  show  what  may  be  done 
by  simple  outline,  without  ornament.  We  do  not  say  that 
architectural  is  like  female  beauty,  "  when  unadorned, 
adorned  the  most ;"  but,  unless  the  simple  outline  is 
good,  all  ornament  only  strives  to  hide  the  absence  of 
form  and  proportion.  We  should  not  advise  so  many 
stories  of  circular-headed  windows,  unless  varied  by 
square  cornices,  as  in  the  present  instance. 

STOEE. 

Where  much  light  is  required,  this  is  an  eligible  mode 
of  grouping  together  three  wide  windows  into  a  central 
composition,  relieved  by  a  wide  space  of  plain  wall  on 
each  side.  We  should  not  approve  of  this  arrangement, 
however,  in  a  composition  wider  than  a  single  street 
building.  The  two  upper  ranges  of  columns  and  the 
pediment  might  be  omitted,  and  the  piers  and  arches  only 
retained,  and  the  effect  would  be  nearly  as  good.  In  that 
case,  pannels  might  be  required  to  take  off  the  heaviness 
of  the  piers,  and  ornaments  might  be  introduced  into  the 
spandrils  of  the  arches  ;  and,  as  we  have  elsewhere  stated, 
it  would  be  well  suited  to  cast-iron  work. 


60 


DESCKIPTION    OF    THE    PLATES. 


PLATE    VI. 

RETAIL   STORE,    OR   ICE-CREAM   SALOON. 

We  have  here  aimed  at  an  external  richness  of  decora- 
tion, suitable  to  the  lavish  magnificence  which  is  now 
bestowed  on  the  interiors  of  these  favorite  resorts.  This 
design  should  be  executed  in  white  marble.  Open  inter- 
columniations  here  form  07ie  grand  central  window  ;  which 
case  is  an  exception  to  our  general  objection  against  a 
series  of  such  windows.  The  solid  perpendicular  bearing 
of  the  external  pilasters  of  the  second  and  third  story 
over  the  middle  columns  of  the  first,  counteracts  the  merely 
apparent  weakness  of  the  upper  columns  resting  within 
the  springing  line  of  the  main  arch  ;  while  the  two  side 
arches,  and  the  niches  above  them,  tend  to  give  breadth 
and  support  to  the  composition  below.  The  horizontal 
lines  of  the  entablatures  of  the  several  orders  are  neces- 
sarily carried  across  the  building,  to  preserve  solidity  and 
connexion  between  the  solid  and  void  parts  of  the  front, 
and  also  to  counteract  the  otherwise  too  prevalent  perpen- 
dicular lines,  formed  by  the  columns  and  pilasters.  The 
style  of  this  design  may  be  called  Greco-Roman  ;  some 
of  the  details  having  been  suggested  by  the  later  Roman- 
ized remains  at  Athens. 


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DESCRIPTION    OF    THE    PLATES. 


PLATE  VII. 

BANK,    OR   PUBLIC    BUILDING. 

The  Palladian  style  has  been  here  adopted,  which, 
though  little  used,  has  left  behind  it  some  of  the  finest 
monuments  of  art  in  Italy  and  England,  and  been  followed 
by  architects  of  the  greatest  genius,  from  Inigo  Jones, 
"Wren,  and  Kent,  to  Chambers,  Wood  of  Bath,  and 
Gwilt.  Simplicity  and  purity  are  the  characteristics  of 
this  style.  This  building  would  look  well  in  red-brick 
and  sandstone,  or  in  white  marble  and  yellow  Bufi'alo 
brick  5  a  mixture  we  have  not  yet  seen  adopted,  but  ven- 
ture to  say,  would  have  a  good  effect.  The  Venetian  win- 
dow is  intended  to  be  in  a  slight  recess,  with  a  bed-mould- 
ing under  the  arch.  A  string-course  is  generally  advisa- 
ble over  arched  windows,  as  it  gives  a  demarcation  and 
definite  form  to  the  space  above  them,  and  increases  the 
effect  of  the  arch  itself.  In  this  case,  the  keystone  forms 
a  connecting  link  between  the  arch  and  the  string-course 
above  it.  The  pediment  to  the  centre  window  of  the 
third  story  is  intended  to  form  a  triangular  pyramidal 
group  with  the  lower  pediments.  Windows  might  be 
placed  in  the  panuels  of  the  attic  story,  if  desired. 


62'       ■  DESCRIPTION    OF   THE    PLATES. 


PLATE  YIII. 

HOTEL. 

No  one  that  has  rambled  through  the  streets  of  Rome 
can  have  failed  to  observe  the  grand  and  beautiful  eflFect 
produced  by  a  long  range  of  large  and  well-proportioned 
windows,  placed  at  equal  distances  on  an  otherwise  plain 
wall,  without  a  break.  The  cause  of  this  is  attributed  by 
Burke,  in  his  Essay  on  the  Sublime  and  Beautiful,  to  a 
principle  he  calls  the  "  artificial  infinite  :"  that  is  to  say, 
the  deceptive  idea  of  unlimited  succession  produced  on 
the  eye  by  a  continued  vista  of  columns,  trees,  &c.,  at 
equal  distances,  that,  if  sufficiently  long,  seems  to  vanish 
into  the  point  of  sight.  In  the  same  way  a  bell  regularly 
tolled,  or  a  constant  pouring  of  rain,  seems  as  if  it  never 
would  leave  off.  But  if  the  series  is  once  interrupted  by 
a  break,  the  illusion  is  dispelled.  This  should  teach  the 
architect  the  injudiciousness  of  making  vertical  projections 
and  compartments  in  street  fronts,  which  are  chiefly  seen 
in  an  oblique  view,  as  they  destroy  the  continuity  and 
apparent  extent  and  grandeur  of  the  building.  In  a  build- 
ing of  moderate  extent,  apertures  are  best  placed  at  equal 
distances,  without  grouping.  In  the  present  design  a 
portico  or  door  in  the  centre  is  absolutely  necessary  ;  but 
a  wider  central  window  in  the  upper  stories  would  only 
break  the  composition  into  two  pieces,  and  destroy  all  the 
beauty  otherwise  obtained.    To  be  convinced  of  this,  the 


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1-^     ' 


BE8CRIPTION    OF    THE    PLATES.  53 

reader  lias  only  to  hold  the  engraving  up  sideways  to  his 
eye,  and  imagine  the  effect  of  the  supposed  alteration. 

The  balcony  is  intended  to  project  two  or  three  feet  along 
the  building,  except  where  it  meets  the  parapet  of  the 
portico  ;  which  should  project  about  five  feet,  with  steps  on 
the  returns.  By  placing  the  principal  cornice  under  the 
attic  windows,  the  excessive  height  of  a  building  is  appa- 
rently reduced,  and  a  better  proportion  of  the  general 
front  obtained.  The  sills  of  the  lower  windows  are  sup- 
ported by  inverted  ogee  brackets,  rising  from  the  plinth. 
As  stores  on  the  ground  story  of  a  hotel  materially  detract 
from  its  beauty,  it  would  be  far  preferable  to  place  the 
narrow  end  of  such  buildings  on  the  principal  street,  with 
an  entrance  there  in  addition,  and  let  the  longest  front  be 
situated  in  a  private  street,  as  contemplated  in  the  present 
design. 


54  DESCRIPTION    OF   THE    PUITES. 


PLATE    IX. 

PUBLIC   LIBRARY,   OR   INSTITUTION. 

This  fagade,  as  the  connoisseur  will  perceive,  is  imitated 
from  the  Colosseum,  one  of  the  few  examples  of  order 
above  order  left  us  by  the  ancients  ;  and  which,  from  its 
uniting  the  orders  with  piers  and  arches,  may  be  said  to 
be  the  model  of  the  modern  Italian  style.  We  believe 
Palladio  was  the  first  who  made  a  direct  study  from  that 
edifice,  in  his  uncompleted  Academy  of  the  Fine  Arts  at 
Yenice.  The  celebrated  Wood  of  England  put  forth  a 
subsequent  adaptation  of  it  in  his  Circus  at  Bath,  which 
the  testy  Mr.  Bramble,  in  "  Humphrey  Clinker,"  unable 
to  find  any  other  fault  with,  stigmatizes  as  "  only  the 
Colosseum,  turned  inside  out." 

In  the  present  elevation,  the  two'  lower  orders  would 
be  three-quarter  columns,  and  the  upper  one,  pilasters  pro- 
jecting about  a  third  or  fourth  of  their  diameter.  The 
face  of  the  two  upper  orders  may  be  set  back  a  little  pro- 
gressively behind  the  lowest,  and  the  wall  diminished  in 
thickness  at  each  story,  though  in  the  two  aogular  profiles 
shown,  the  columns,  of  course,  stand  perpendicular  over 
each  other's  centre.  The  recess  of  the  arches  and  window 
reveals  should  be  nine  inches  or  a  foot,  according  to  the 
scale  on  which  the  design  may  be  executed. 

If  this  elevation  were  applied  to  a  library,  the  plan 
might  consist;  of  an  entrance-hall  and  passage  in  the  centre, 


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DESCRIPTION    OF   THE    PLATES.  55 

and  a  staircase  built  out  in  the  middle  of  the  back  front, 
and  four  reading  and  librarians'  rooms  on  the  first  floor  ; 
while,  above,  the  whole  urea  over  the  four  rooms  and 
passage  would  be  thrown  into  one  handsome  Library,  of 
two  stories  of  windows  in  height,  divided  vertically  by  a 
gallery,  running  round  the  whole  room  ;  and  as  the  front 
windows  would  be  sufficient  for  light,  all  the  rest  of  the 
walls  might  be  covered  with  book-shelves ;  while  the 
columns  or  pilasters  projecting  into  the  room  to  support 
the  gallery  might  be  the  termination  of  partitions,  at 
right  angles  to  the  walls,  also  covered  with  shelves  on 
each  side.  The  ceiling  should  be  an  oval  arch,  or  coved  at 
the  angles. 


68  DESCRIPTION  OF  THE  PLATES. 


PLATE    X. 

HOTEL. 

This  is  an  attempt  to  raise  six  or  seven  stories,  without 
making  the  windows  resemble  a  multiplication-table,  or 
the  meshes  of  a  piece  of  basket-work.  We  have  elsewhere 
pointed  out,  that  the  only  way  to  avoid  this,  is  to  employ 
strinjT-courses  or  cornices  between  some  of  the  stories. 

In  the  present  case  we  have  placed  our  main  cornice 
over  the  fourth  story,  effecting,  by  this  means,  a  division 
of  our  entire  front  up  to  this  cornice,  so  far  complete 
and  well-proportioned  in  itself.  Our  two  upper  sto- 
ries would  thus  seem  to  be  an  after-thought  or  addition 
over  the  lower  ;  but  are  prevented  from  appearing  heavy 
by  the  use  of  light  semicircular  half-columns  and  arches. 
By  adding  one  more  story  over  the  slightly  projecting 
ends  of  our  building,  which  should  be  returned  the  whole 
depth  of  the  rear,  the  height  of  the  intervening  part  of 
the  building  is  apparently  reduced  by  contrast ;  a  triangu- 
lar disposition  of  salient  points  is  formed  in  conjunction 
with  the  centre  recessed  portico  ;  and  the  whole  composi- 
tion relieved  from  the  monotony  it  would  otherwise  pos- 
sess. Deducting  all  above  the  main  cornice,  and  diminish- 
ing the  height  between  the  first  and  second  story  windows, 
this  design  might  be  easily  converted  into  a  row  of  dwell- 
ings, or  the  side  of  a  square  ;  in  which  latter  case,  the 
additional  story  in  height,  at  the  two  end-houses  of  the 
block,  might  be  advantageously  retained. 


F  r  o  n   t 


DETACHED     M  A  l/l  5  I  O   l/| 
iGl^  scale 


FZ.JI. 


DESCRIPTION    OF    THE    PLATtS.  67 


PLATE    XI. 

DETACHED    MANSION. 

This  example  is  of  the  simplest  Italian  character,  and 
would  equally  suit  a  suburban,  or  a  country  villa,  with  the 
addition  of  a  colonnade  on  one  side,  surmounted  by  a 
balustrade  and  rases  over  the  piers,  and  a  flat  roof  to 
walk  out  upon  from  the  second  story  window,  which  might 
be  made  lower  for  that  purpose.  The  recessed  portico, 
about  one  intercolumniation  deep,  should  have  a  groined 
ceiling,  of  square  and  diagonal  lines  on  the  plan,  and  semi- 
circular on  the  section.  The  chimney  flues  could  be  con- 
veniently gathered  up  into  the  corner  piers  of  the  bel- 
vedere, and  the  shafts  raised  higher,  if  required.  For  a 
countrv-house  the  basement  mitrht  be  lower,  or  omitted, 
except  when  required  for  cellarage  ;  or,  if  the  basement 
were  kept,  the  attic  story  might  be  dispensed  with. 


58  DESCniPTION*    OF    THE    PLATES. 


PLATE    XII. 

DISTRICT   SCHOOL,   OR   ACADEMY. 

The  style  of  this  design,  the  Gothic  of  Henry  YIII.  or 
the  earlier  Elizabethan,  is  that  which  we  think  the  most 
appropriate  for  educational  structures.  It  should  be  built 
of  red  brick  and  brown  sandstone  ;  the  corner-stones  and 
mullions^Wt  with  the  brick-work  :  pivjecting  architraves 
are  contrary  to  the  nature  of  Gothic  architecture.  There 
is  a  small  building  of  this  style  and  material  in  the  neigh- 
borhood of  Lexing;ton  Avenue,  which  will  give  a  notion 
of  the  agreeable  effect  produced.  The  plan  of  the  front 
shows  a  cloister  in  the  centre,  for  play  and  exercise  during 
the  intermission  of  the  classes,  intended  to  extend  the 
whole  depth  of  the  building,  and  serving  for  a  sheltered 
entrance  to  the  school-rooms  on  the  first  story,  and  the 
stairs  leading  to  the  upper  stories.  Larger  windows  to 
the  first  floor  rooms  migh.t  be  obtained  on  the  back  and 
sides  of  the  building.  The  second  floor  would  afford  three 
or  four  large  class-rooms ;  the  third  story  as  many  more. 
Winding  staircases  in  octagonal  towers,  are  the  most  in 
character  with  Gothic  designs  ;  and,  with  two  other  simi- 
lar ones  on  the  back  front,  separate  for  boys  and  girls, 
built  of  stone  or  cast-iron,  the  steps  forming  a  pillar  in 
the  centre,  nothing  could  be  more  durable,  or  safe  against 
accident  of  any  kind. 


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DESCRIPTION   OF   THE    PLATES.  59 

Witli  the  necessary  modifications  of  plan  and  arrange- 
ment, this  design  might  easily  be  turned  into  a  handsome 
Tilla,  with  a  recessed  portico,  where  the  centre  cloister 
now  is  ;  and  built  of  the  same  materials  ;  one  of  the  stair- 
cases, of  course,  omitted  as  unnecessary.  Uniformity  in 
rural  buildings  is  not  so  effective  as  an  irregular  and 
picturesque  disposition. 


60  DESCRIPTIOX    OF    THE    PLATES^ 


PLATE    XIII. 

DETACHED   MANSION. 

This  is  intended  for  the  corner  of  a  street,  where  access 
could  be  obtained  through  the  archway  to  the  stable-yard, 
shown  in  the  side  elevation.  Jersey  sandstone  and  red 
brick  would  be  suitable  materials,  but  white  marble  would 
be  more  elegant.  The  recessed  portico  on  the  side  upper 
story  might  be  adorned  with  flowering  shrubs  in  summer, 
or  enclosed  as  a  greenhouse  in  winter.  A  plan,  to  suit 
any  particular  requirements,  could  easily  be  made  to  cor- 
respond with  these  elevations.  If  the  attic  should  be 
thought  too  low,  a  balustrade  over  the  entablature,  with 
windows  behind,  and  a  flat  roof,  might  be  substituted  for 
the  Italian  villa  roof  here  adopted  ;  the  entablature,  in 
that  case,  being  a  little  reduced  in  height. 


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DESCRIPTIOX    OF    THE    PLATES.  61 


PLATE    XIV. 

THEATRE. 

In  all  compositions  of  the  Fine  Arts,  it  is  good  to  have, 
whether  consciously  or  unconsciously,  some  leading  idea, 
from  ^vhich  all  the  subsidiary  parts  will  naturally  branch 
out,  and  insure  unity  and  consistency  as  the  result. 

The  leading  idea  of  this  design  was  obviously  to  exhibit 
the  statues  of  the  Nine  Muses  ;  the  motto  referring  to  which, 
if  thought  pedantic,  might  be  omitted.  The  required 
number  of  niches  regulated  the  width  of  the  building,  the 
intercolumniations  of  the  order,  and  the  proportions  of  the 
whole  design.  The  plan  of  the  niches  is  meant  to  be 
semicircular  behind  the'  statues  to  the  top  of  the  impost, 
but  the  recesses  of  the  arches  over  the  semicircular  win- 
dows to  be  rectangular.  As  these  windows  would  be  all 
that  are  required  to  light  the  saloon  by  day,  the  space 
above  them  has  been  devoted  to  a  hasso  or  alto-relievo,  re- 
presenting the  principal  characters  of  Shakspeare,  with  a 
balustrade,  cornice,  and  comic  and  tragic  masks  as  aero- 
tcria,  crowned  by  a  statue  of  Shakspeare  in  the  centre  ; 
in  a  sitting  posture  in  order  to  harmonize  with  the  wide 
base  furnished  by  the  centre  tablet.  The  three  centre  inter- 
columniations would  open  upon  a  recessed  portico,  leading 
to  the  several  entrance  doors.  A  handsome  store  might 
occupy  the  remaining  space  on  either  side.  The  two  centre 
columns  would  be,  of  course,  entire  ;  the  remainder  three- 


62  DESCRIPTION    OF   THE    PLATES. 

quarters,  or  entire  columns,  just  clear  of  the  window-frame. 
The  rich  frieze  between  the  capitals  is  intended  for  open 
iron-work  with  glass  behind.  The  names  might  be  written 
below  the  statues,  beginning  from  the  left  in  the  followiug 
order  :  Clio,  Terpsichore,  Calliope,  Melpomene,  Urania, 
Thalia,  Polymnia,  Erato,  Euterpe  ;  which  have  been  de- 
signed with  characteristic  emblems  and  attitudes. 

This  design,  owing  perhaps  to  the  quantity  of  sculp- 
ture, has  turned  out  somewhat  in  the  Parisian  Greek  taste. 


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DESCRIPTION    OF    THE    PLATES.  6UJ. 


PLATE    XT. 

CLUB-HOUSE,   OR   PRIVATE   MANSION. 

The  central  range  of  windows  in  this  design  is  imitated 
from  the  Pandolfini  palace  at  Florence,  attributed  to  the  in- 
vention of  the  "  divine  Raffaelle."  This  early  Italian  style, 
for  solidity,  richness,  and  palatial  dignity,  we  consider  as 
the  ne  plus  ultra  of  Art.  Several  of  the  London  Club- 
houses, recently  built  after  this  manner,  have  attracted 
great  admiration  ;  as  nothing  of  the  kind  had  ever  been 
previously  introduced.  The  lower  windows,  also  Floren- 
tine in  form,  have  been  kept  smaller,  on  purpose  to  add  to 
the  importance  of  the  principal  story.  An  attic  might  be 
made,  with  windows  concealed  behind  the  balustrade,  if 
desired.  The  portico  should  not  project  over  two  or  three 
feet,  enough  to  give  room  for  a  half-pilaster  on  the  return, 
set  back  from  the  angle  of  the  portico  at  least  as  much  as 
the  space  from  the  angle  to  the  half  or  three-quarter 
column.  The  quoin-stones  are  chiselled  out  into  flat  sink- 
ings and  torus  projections  alternately  round  each  stone. 
The  ends  of  the  brackets  level  with  the  ornamented  string- 
course, under  the  principal  windows,  must  project  suffi- 
ciently to  bear  the  three-quarter  columns  of  the  window- 
dressings  above.  Square  windows,  of  equal  height  and 
breadth,  are,  in  general,  the  best  that  can  be  chosen  for 
the  highest  story  under  the  principal  cornice. 


64  DESCRIPTION    OF    THE    PLATES. 


PLATE    XYI. 

A   MAEKET. 

Tliis  design  is  meant  to  be  extended  considerably  wider 
than  the  limits  of  the  plate  allowed,  by  increasing  the 
length  of  the  colonnade  between  the  wings  and  the  centre 
building.  The  entire  plan  would  be  a  parallelogram,  the 
roofed  part  forming  a  double  H,  of  which  the  front  part, 
shown  in  the  plan,  would  be  the  longest  side,  the  centre 
and  wings  extending  back  to  a  similar  elevation  on  the 
opposite  side  ;  and  the  interior  and  exterior  ^ide-elevation 
of  the  wings  would  have  similar  piers,  arches,  and  windows, 
to  the  part  in  fainter  lines  behind  the  colonnade,  which 
represents  the  cross-bar  of  the  H  connecting  the  wings 
and  centre.  The  stalls,  which  would  have  one  window 
each,  are  shown  by  dotted  lines  on  the  plan.  The  centre 
would  be  the  meat  market,  and  the  two  wings,  and  the 
ranges  connecting  them  with  the  middle  of  the  meat 
market,  might  be  for  vegetables  and  country  produce. 
Other  stalls  might  be  placed  under  the  colonnades,  and 
the  four  open  courts  they  inclose.  An  additional  story 
might  be  raised  over  the  meat  market,  if  required.  But 
we  must  enter  our  strong  protest  against  making  many 
upper  stories  over  a  market-house,  as  it  has  been  lately 
proposed  at  the  Washington  market ;  it  appearing  to  us 
that  living-rooms,  or  even  coffee-houses  and  miscellaneous 
stores,  associated  with  accumulated  stocks  of  provisions 


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DESCRIPTION    OF    THE    PLATES.  65 

liable  to  decay,  must  be  inimical  to  the  purity  of  atmo- 
sphere, and  cleanliness  necessary  to  such  distinct  objects. 

An  India-rubber  cloth  awning  might  be  contrived  to 
shelter  the  open  courts  from  rain  and  sun  in  summer,  and 
from  rain  and  snow  in  winter.  Chimneys  are  drawn  at 
the  ends  of  the  wings  for  stoves,  one  for  every  two  stalls. 

The  present  design  is  perhaps  best  suited  for  an  up-town 
market,  though  it  might  easily  be  enlarged.  Several  de- 
signs for  markets  in  the  Italian  style,  lately  executed  in 
London,  may  be  consulted  with  advantage.  Liverpool, 
also,  possesses  the  largest  covered  market  under  one  roof 
ever  erected. 


66  DESCRIPTION    OF    THE    PLATES. 


PLATE    XVII. 

FERRY-HOUSES. 

While  the  means  of  transit  over  our  numerous  ferries 
have  been  brought  to  such  a  degree  of  perfection  in  this 
city,  that  a  bridge,  if  possible,  would  be  less  cheap  and 
convenient,  -we  may' be  surprised  that  there  should  not  be 
a  ferry-house  yet  erected  of  the  smallest  architectural 
pretensions.  Simple  in  their  plan,  of  only  one  story  or 
order  in  height,  few  subjects  present  greater  capabilities, 
and  scope  for  fancy  ;  at  the  same  time  that  a  variety  of  the 
most  appropriate  models  may  be  searched  out  among  the 
beautiful  lodges  and  gates  to  English  noblemen's  Parks,  or 
the  triumphal  Arches  and  Propylsea  of  antiquity. 

Design  1,  is  purposely  made  of  the  exact  plan  of  the 
one  first  made  at  Vanderbilt's  landing,  Staten  Island  :  and 
shows  at  what  little  extra  expense  two  carpenters'  sheds, 
four  square  posts,  and  a  flat  roof,  may  be  converted  into  a 
piece  of  architecture.  Although  we  object  in  general 
against  all  sham  imitations  of  stone  in  wood-work,  yet  a 
ferry-house,  not  being  a  permanent  structure,  resting  on 
an  artificial  foundation,  and  liable  to  the  constant  jars  of 
the  boat,  may  be  excusably  built  of  joiners'  work.  If  a 
double  carriage-way  were  desired,  this  design  might  be 
extended  by  inserting  an  additional  loide  intercolumnia- 
tion,  and  a  column  in  the  centre  might  be  cxceptionably 
excused  on  the  ground  of  utility.     The  back  part  of  the 


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DESCRIPTION    OF    THE    PLATES.  67 

plan  would  be  the  counterpart  of  the  front ;  and  the  cen- 
tre part  is  intended  to  be  roofed  over  in  both  designs. 

Design  2.  A  richer  elevation,  to  a  more  extended  plan. 
This  could  also  be  modiiied  so  as  to  have  two  carriage- 
ways, by  substituting  three  arches  of  equal  width,  a  little 
loftier  in  proportion  to  the  aperture  ;  one  side  arch  serv- 
ing exclusively  for  foot-passengers. 

We  may  here  hint  at  the  importance  of  a  maritime  city, 
with  such  an  immense  extent  of  water-front,  paying  some 
attention  to  tlie  handsome  appearance  of  her  warehouses, 
and  other  buildings  next  the  wharf :  which  form  the  near- 
est  objects  in  a  distant  view  of  the  city,  and  give  the  all- 
important  first  impression  to  foreign  visitors  ;  while  they 
furnish  the  only  opportunity  of  viewing  in  conjunction 
the  beauties  of  civil  and  naval  architecture,  or  of  realizing 
the  sea-port  pictm-es  of  Claude  and  Vernet. 


68  DESCRll'TlON    01'    THE    PLATES. 


PLATE    XVIII. 

ENGINE-HOUSE. 

As  the  simplest  structure  is  susceptible  of  pleasing  and 
characteristic  embellislimeut,  we  have  here  selected  for  our 
subject  an  engine-house,  of  which  the  general  specimens  are 
little  superior  to  stable-buildings  ;  and,  by  the  addition  of 
Sculpture,  which  might  be  omitted  till  the  occasion  de- 
manded, have  endeavored  to  compose  something  like  an 
adequate  architectural  tribute  to  the  meritorious  Fire 
Department.  As  windows  would  interfere  with  this  object, 
they  must  be  supplied  from  the  back  or  sides,  or  a  skylight 
in  the  upper  story.  The  plan  and  elevation  seem  sufli- 
ciently  explicit,,  except  in  denoting,  that  the  entablature 
between  the  columns,  and  the  face  of  the  wall  between 
the  pilasters  above,  are  intended  to  stand  about  half  the 
projection  of  the  columns  forwarder  than  the  general  line 
of  the  front ;  thus  affording  greater  depth  for  the  niches 
and  statues.  The  appropriateness  of  the  flame  at  the  top 
of  the  pediment,  the  trophies  of  caps  and  trumpets,  and 
the  oak-leaf  crown,  the  Roman  reward  for  saviuo-  the  life 
of  a  citizen,  will  be  readily  appreciated.  The  lion's  head, 
in  the  keystone,  was  emblematical  of  water  among  the 
ancients,  and  used  for  waterspouts  on  their  temples  ;  their 
most  rainy  period  being  when  the  sun  was  in  the  constella- 
tion of  Leo.  The  alto-relievo  represents  a  fireman  just 
descended  from  the  ladder,  after  having  rescued  an  infant. 


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DESCRIPTION    OF    THE    PLATES.  69 

and  restored  it  to  its  mother's  arms.  Should  such  a  design 
as  this  be  erected,  it  would  not  be  long  before  some  similar 
instance  of  heroism  might  demand  and  obtain  a  similar 
monument  ;  justly  bestowed  on  those 

Qui  sui  memores  alios  fecere  merendo. 
Who  by  desert  have  won  a  glorious  name. 


70  DESCRIPTION    OF    THE    I'l.ATES 


PLATE    XIX. 

KAILROAD    TERMINUS. 

A  handsome  structure  of  this  description  lias,  we  believe, 
been  recently  erected  at  Baltimore,  of  which  this  city  can 
not  yet  boast.  A  design  of  this  extent  would  only  be 
suitable  for  an  up-town  situation,  which  however  is  fast 
becoming  the  most  central  and  convenient  for  the  purpose. 
The  plan  exhibits  a  waiting-room  and  office,  with  living 
rooms  above,  and  a  colonnade  in  front,  on  each  side  of  a 
centre  archway,  through  which  carriages  might  drive 
into  the  interior  courtyard.  The  depot  for  cars  might 
be  placed  centrally  behind  the  arch,  with  a  cast-iron  roof, 
forming  one  wide  pediment  over  the  two  tracks  ;  thus 
uniting  the  whole  into  one  pyramidal  composition.  As 
some  piece  of  Sculpture  appeared  necessary,  in  lieu  of  the 
triumphant  hero,  horses  and  chariot  of  the  antique  arches, 
we  conceived  the  idea  of  introducing  the  figure  of  Mercury 
in  a  winged  car,  emblematical  of  Commerce,  conveyed 
over  the  world,  without  animal  agency,  with  the  rapidity 
of  the  wind. 

One  of  the  side  buildings  detached,  and  extended  to  four 
or  five  windows  in  width,  and  the  colonnade,  carried 
round  three  sides,  might  be  easily  converted  into  a  simple 
Italian  Villa,  with  the  addition  of  vases  over  the  piers  of 
the  balustrade.  The  uppeji-  windows  will  be  observed  to 
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DESCRIPTION    OF    THE    PLATES.  71 

sides.  We  would  strenuously  advocate  this  mode  of  win. 
dow  decoration  in  all  cases  where  the  piers  are  not  visibly 
wider  than  the  windows,  as  it  has  a  good  effect  in  itself, 
as  may  be  seen  in  the  Metropolitan  Hotel,  and  increases 
the  apparent  width  of  the  pier.  Where  cast-iron  orna- 
mented lintels  are  used,  they  should  always  have  small 
brackets,  or  blocks  to  support  them,  where  they  bear  upon 
the  wall. 


72  DESCRIPTION    OF    THE    PLATES. 


PLATE    XX. 

A   CHURCH. 

Several  very  tasteful  and  picturesque  Gothic  Churches 
have  lately  been  built  in  the  upper  part  of  New  York 
City,  but  too  closely  pressed  upon  by  houses,  and  of  too 
rural  a  style  of  Gothic,  to  obtain  their  full  effect.  Instead 
of  the  affectation  of  planting  ivy,  the  badge  of  antiquity, 
on  a  new  building,  if  two  or  three  large  trees  could  have 
found  space  to  separate  them  from  the  adjoining  buildings, 
they  would  be  greatly  improved.  In  seeking  something 
that  would  better  harmonize  with  modern  street  architec- 
ture, we  were  led  to  this  design  of  an  Italian  Chapel  of 
moderate  size.  The  columns  between  the  arches  are 
merely  ornamental  additions,  to  give  the  degree  of  rich- 
ness demanded  by  a  city  edifice  :  if  they  were  omitted, 
the  design  would  be  very  suitable  for  a  suburban,  or  vil- 
lage church,  and  might  be  very  economically  built,  of  stone 
or  wood.  The  Italian  Campanile,  or  bell-tower,  rises 
square  for  a  considerable  height,  like  most  of  Wren's  best 
steeples,  and  terminates  with  an  open  belfry,  square,  oc- 
tagon, or  circular  on  the  plan.  It  offends  symmetry,  but 
secures  picturesqueness,  to  place  a  steeple  or  tower  on  one 
side  of  the  body  of  the  church.  The  best  steeples  will 
be  found  to  be  those  that  cut  the  sky  with  the  boldest  and 
most  striking  profile.  To  test  this  effect,  it  has  been  re- 
commended to  the  artist  to  cut  them  out  in  paper,  doubled 


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TJL.TT. 


A     C  H  L'  R  C    H 


&  C°  J^.'T 


DESCKIPTIOX    OF    THE    PLATES.  "73 

up  in  the  centre  line,  which,  when  opened,  will  exhibit  the 
outline  of  both  sides.  In  steeples,  sudden  and  rectangu- 
lar breaks  and  diminutions  best  suit  the  Roman  and 
Italian  styles,  and  gradual  taperings  the  Gothic. 

The  side  windows  of  this  design  should  be  circular- 
headed,  of  smaller  diameter  than  the  arches  of  the  por- 
tico, but  the  arches  on  the  same  springing-line  ;  the  impost 
being  continued  level  round  the  building.  A  semicircular 
or  elliptical  recess  for  the  altar,  or  pulpit,  might  be  made  at 
the  opposite  end  of  the  building,  with  a  semi-dome  above  it, 
the  springing-line  of  this  also  level  with  that  of  the  win- 
dows. The  ceiling  might  be  an  elliptical  arch  from  side 
to  side,  with  projecting  ribs  over  the  piers  of  the  windows, 
and  pannels  between  :  or  such  a  ceiling  might  be  painted 
in  distemper.  A  staircase  to  the  gallery,  and  a  small 
robing-room,  might  be  obtained  in  the  lower  part  of  the 
tower. 

Though  for  the  sake  of  novelty  we  have  given  our  only 
example  of  a  Church  in  this  style  ;  yet  we  have  no  hesita- 
tion in  stating  our  preference  of  the  Gothic  style  for 
churches,  in  most  instances.  But  it  should  be  remembered, 
that  costly  ornament  is  more  indispensable  in  the  Gothic 
style,  than  in  any  other.  I^or  our  own  part,  we  do  not 
approve  of  the  revival  of  Norman,  or  Lombardy  Gothic, 
as  too  rude,  and  mock-antique.  The  early  English  is  our 
favorite  style  of  Gothic,  and  requires  least  ornament  of 
any.  But  the  misfortune  of  all  modern  Gothic  churches 
is  the  difficulty  of  arranging  the  interior  so  as  to  secure 
the  general  sight  and  hearing  of  the  preacher.  Pillars,  so 
essential  to  beauty  and  utility,  are  thus  found  inconveni- 
ent, and  length  must  be  equalized  with  breadth  of  build- 


74  DESCRIPTION'    OF    THE    PLATES. 

ing.  Now  the  elements  of  beauty  in  a  Gothic  interior 
are  its  length  and  height.  Witliout  height,  there  can  be 
no  approach  to  sublimity  of  effect,  and,  without  sufficient 
length,  height  cannot  be  perceived  in  the  perspective. 
Modern  Gothic  churches  are  too  square  in  tlie  interior,  and 
squat  on  the  outside  ;  while  the  beauty  of  the  old  Cathe- 
drals and  College  Chapels  is  to  be  tall  and  extended  ; 
aspiring,  and  "pointing  to  the  skies."  Unless,  therefore, 
some  degree  of  these  real  beauties  is  obtained,  it  is  idle 
and  puerile  to  ornament  doors  and  windows  with  quatre- 
foils  and  crockets.  But  where  economy  is  not  an  object, 
and  for  a  moderate  size  we  should  recommend  a  Church 
of  the  early  English,  College  Chapel  form  (without  a 
tower),  from  150  feet  by  50,  to  100  by  33  ;  in  the  latter 
case  with  only  an  end  gallery,  in  the  former  with  side  gal- 
leries of  only  two  piers  in  depth,  supported  by  brackets. 
The  ceiling  should  be  of  simple  Early  English  groining, 
(of  plaster  to  imitate  stone,)  supported  by  three-quarter 
columns  between  the  windows  ;  or  if  of  wood,  of  two 
slightly-inclined  planes,  divided  into  square  pannels  by 
moulded  beams,  with  bosses  at  the  intersections,  and  with 
quadrant-arched  spandrils  and  pendants  against  the  walls. 
The  windows,  in  the  latter  case,  should  be  four-centred 
arches  with  muUions  and  plain  tracery  ;  in  the  former, 
narrow  lancet  arches,  without  mullions.  The  height  of 
the  building  should  be  at  least  half  as  much  again  as  the 
width,  if  in  the  early  English  style,  somewhat  less  in  the 
latter.  Four  narrow  octagon  turrets,  at  the  angles  of  the 
building,  graduated  buttresses  between  the  windows, 
an  entrance  door  at  the  end,  and  a  Avider  window  above 
it,  and  a  gable  roof  corresponding  to  the  pitch  of  the 


BESCRIPTION    OF    THE    PLATES.  75 

ceiling,  would  complete  a  plain  but  effective  exterior,  in 
either  of  the  above  styles.  For  a  village  church  of  this 
form,  and  much  smaller  dimensions,  squared  coins,  coping, 
and  mullioDS,  and  rough  irregular  stones  between,  would 
look  the  best.  If  side  galleries  were  omitted,  by  placing 
the  pulpit  against  the  wall,  about  one  third  of  the  length 
of  the  building  from  the  altar-end,  the  preacher  would  be 
the  most  central  and  opposite  to  his  audience. 


THE   END. 


